How to learn to move your hips in ballroom dancing. Video belly dance lessons for beginners - basic movements and elements of belly dance. Oriental dance: dancing for pleasure and profit

Belly dance. Master's Lessons. Advanced level Vedekhina Tatyana Yurievna

Hip movements

Starting position: we stand on a full foot, legs slightly apart (about the width of the foot) and located on the same line parallel to each other, the body is slightly tilted back, the back is straight, the stomach is relaxed, the arms are lowered along the body, the knees are “soft”.

Doing the exercise "Rocking hips back and forth ("inward" and "away from oneself"). We take the buttocks back as much as possible, while we do not deviate back, hands are wound behind the back. Then we draw the buttocks into ourselves as much as possible, and bring our hands forward with a smooth movement. We tighten the hips, sharply reducing the muscles of the buttocks so that the pelvis leans forward and up a little.

We linger for a few seconds in this position. Then we take the hips back as far as possible - the legs and body remain motionless - and arch.

We work in a vertical (frontal) plane. Again, we reduce (squeeze) only the muscles of the buttocks so that the pelvis leans forward and up a little ("inward"). Movement of the pelvis forward and up - back and up, emphasis at the farthest point of this movement - again the pelvis "into itself" - again back and up, emphasis, etc.

Try to move in the frontal plane along the trajectory of the lower arc of the semicircle. Remember your posture: shoulders down, back straight.

Starting position: we stand on a full foot, legs slightly apart (approximately the width of the foot) and located on the same line parallel to each other, the body is slightly tilted back, the back is straight, the stomach is relaxed, the buttocks are tightened, the knees are “soft” and slightly bent, arms are in sides. We perform a rocking chair with the hips.

The rocking chair is performed by alternately straightening the knees: without changing the position of the left leg, we straighten the right leg at the knee, due to which the right thigh is “pushed” up and we sort of pull it under the rib (at the same time, the lateral abdominal muscles contract).

During the movement, we do not tear off the heels and do not transfer the center of gravity from foot to foot. The top remains motionless and does not sway during the work of the hips. We make sure that the hips move only up and down, do not take them to the side or back. They should be relaxed - only the knees work. Now we bend the right leg at the knee - we lead the left thigh up.

We continue the alternating movement with one or the other hip, without deviating the body and keeping the line of the shoulders in the same position - parallel to the floor.

Imagine that you have a bowl of water on your head and your task is not to spill the water. You can also try to put a book on your head during this exercise and try to move so that it does not sway, much less fall.

We carry out rocking your hips to the sides in three counts: right-left and a little more slowly to the right - slightly slow down the knee extension until the movement starts in the other direction (without a pause in the movement), left-right and slightly slower to the left, slightly slowing down the knee extension until the next movement in the other direction. Movements should be smooth, unhurried, but continuous. Simultaneously with the rocking chair, we perform circular movements with the hands. Again we make a rocking chair with our hips to the sides without pauses. At the same time, we raise our hands up, at the same time performing rotations with the wrists along the trajectory of the eight. Repeat the movement with the hips at a fast pace.

If desired, the pace of side rocking with the hips can be further increased: increasing it gradually and maintaining the rhythm, move on to shaking the hips. When shaking-rocking chair, the pelvis swings due to the work of the muscles of the lower back, the legs become freer. With this shaking, you can learn to walk quite easily. For example, climb on the "half-toes" and try to go forward with shaking, and then back. The faster the hips move, the more they need to relax. But don't forget to work with your hands.

If at first the shaking works out well for you, and after a minute or two the muscles begin to “stone” and the shaking rhythm is lost, it doesn’t matter. Stop, shake your legs alternately, relax your muscles and start shaking again. The vibration of the body is given by muscles relaxed at your will, and not by tension.

Performing a rocking chair at a fast pace, we take the pelvis forward, then back and then move in a circle to the left. So we impose movement "rocking hips back and forth" on the move "small circle of hips in a horizontal plane" plus circular movements with brushes.

We connect the side rocker with the hips pulling the hips, while continuing to rotate the wrists.

Pulling with the hips is a basic element of oriental dance, a movement from the group of slips. It should be done every day during every workout.

Starting position: we stand straight on a full foot (legs are located on the same line), the body is slightly tilted back, the back is straight, legs are shoulder-width apart, knees are “soft”, arms are at the sides. We take the hip as far as possible to the left (without ceasing to perform the rocking chair at the same time), leave the legs and the upper part of the body motionless and transfer the body weight to the left leg. Shoulders, belt line during pulling remain parallel to the floor, knees do not bend. We pull the hips to the right and transfer the weight of the body to the right leg. The hips move to the right and left with maximum amplitude.

Pulling the hips helps to stretch the lateral muscles, strengthen the muscles of the lower back and abdomen, perfectly tones the muscles of the waist, and also helps to prepare the body for further performance of various oriental movements (in particular, amplitude volumetric eights and rotations).

By sliding your hips, you can move back and forth and left and right.

After doing the pull with the hips, we move on to one more basic movement, simple to perform, but effective and easily combined in dance with other elements, - eights. Let's start by performing horizontal eights (movements are performed in a horizontal plane clockwise and counterclockwise).

Horizontal figure eight back (“away from you”). While pulling, we lingered for a moment in a position where the left hip was maximally abducted to the left and, accordingly, the weight of the body was on the left leg.

Now we lead the right thigh diagonally forward to the right, wrap it as much as possible and begin to outline the first half of the imaginary figure eight - we bring this thigh back.

Next, the left thigh is brought forward (the body weight is gradually transferred to the left leg), turns as much as possible (until you see your left buttock out of the corner of your left eye) and begins to outline the second half of the eight: to the left until it stops, and then back to the left.

Only the lower part of the body moves. Breathing remains even and smooth, like the movement itself.

You can help yourself a little: when the hips twist in one direction, twist the body slightly in the other (so that the hips do not drag it along).

Straightened knees, feet that remain parallel, and heels that do not leave the floor will help to achieve smoothness, softness and continuity of movement. Imagine that you are making your way forward without the help of your hands through some rather dense, viscous substance and, as it were, are raking it with your hips, alternately pushing it to one side or the other.

This exercise helps to increase the elasticity of the ligaments.

Movement "horizontal figure eight forward ("inward")" schematically looks the same as the previous one, only it is performed in the opposite direction. We take the left thigh back diagonally to the maximum twisted position (in which the chest still remains motionless).

The weight of the body is transferred to the left leg. With a smooth circular motion, we describe half of the eight forward with the left thigh, maximally turning the right thigh back. We transfer the weight of the body to the right leg.

In a circular motion, we bring the right thigh forward and describe the remaining half of the eight. We try to bring the hips forward no less than back. We do not turn our shoulders. They must always look ahead. If you are still not very good at “separating” the top from the bottom, try doing the figure eight with your whole body first. I managed to catch the trajectory - you can move on to fixing the body and start moving only the hips.

Try to bring your hips forward no less than back, then the movement will be smooth and symmetrical. Keep an eye on the upper body: it should remain motionless, but not enslaved, keep the line of the shoulders parallel to the floor line.

When performing the figure eight, the legs should be placed parallel to one another and on the same line, not just for stability or beauty: if you put them in eversion positions (heels together, toes apart), then, involuntarily pinching the buttocks, limit the amplitude of their movement.

Another version of eights with hips - vertical eights, or, as they are also figuratively called, "pendulums". The second name of this dance component was not born by chance: remember how the pendulum of the clock moves, describing the lower semicircle of an imaginary circle, like a young crescent turned upside down with “horns”. The oriental dancer reproduces the described trajectory with the help of hip movements in a strictly vertical plane. Vertical eights can be performed, like horizontal ones, in two directions opposite to each other: “away from you” (from top to bottom) and “into yourself” (from bottom to top).

We still stand on a full foot (legs are located on the same line and parallel to one another), the body is slightly tilted back, the back is straight, the buttocks are picked up. But now, to perform the "pendulum", put your feet together. Body weight on the left leg. We tear off the right heel from the floor and raise the thigh as high as possible.

Body weight is gradually transferred to the right leg. Further, drawing a quarter of a circle to the right and down, we begin to lower the right thigh, at the same time pushing it as far as possible to the side, that is, to the right. From this extreme side point, we continue to lower the thigh to the lowest point of the circle thanks to the “soft” knee. Body weight on the right leg. We put the heel of the right foot on the floor and lower the right thigh down.

Now we tear off the left heel (the knee is relaxed), raise (by lifting the heel off the floor) the left thigh up (as if leading to the armpit) and push it to the side as far as possible, without deflecting the body in the opposite direction and outlining a rather steep semicircle of an imaginary eight.

We pull the thigh towards us, returning to the starting position. We continue to draw symmetrical circles in a vertical plane. The body should remain motionless, and the line of the shoulders should be parallel to the floor line. Add hand movement to this dance element.

The hands in the oriental dance move depending on the nature of the music, and therefore often their movements do not coincide with the movement of the hips: the hands work at least twice as slowly as the hips. If the hips are the rhythm, then the arms are the melody.

From the previous starting position, we smoothly proceed to the next movement - step Suher Zaki, or "stilts".

We stand on straight lines, located on the same line parallel to one another, legs on toes, the body is slightly tilted back, the back is straight, arms to the sides. We begin to alternately lower the heels to the floor in three counts. We lower the heel of the left leg - the left thigh goes down, then we raise the heel of the left leg, returning to its original position (on the toes), and lower the heel of the right leg.

Left - right - left - lingered for a moment. Right - left - right - lingered for a moment. And so several times in a row in the rhythm of the sounding melody. We do not bend our knees - we only raise our hips. The head is on the same level: the movement occurs mainly only due to the hips. Continuing to perform the movement, alternately tear off the legs from the floor.

And now we “walk” in place without delays and stops, but still in time with the melody.

If this movement is performed correctly, you will feel the movement of the oblique muscles of the abdomen.

We perform the following exercise - hip dumps(otherwise - hip down kicks). Starting position: standing in a semi-squat and half-turned to the viewer. The body looks forward, the hips and legs are turned to the side at an angle of 45 °. We put the leg closest to the viewer (mirror) (working in this movement) in front of the one behind, on the toe, and expose its thigh and turn it forward (toward the viewer), as far as the body allows. The back is straight and slightly tilted back, arms are spread apart.

As you move, try to keep your knees close together.

So, keep your chest and shoulders straight. We start the movement with the left foot, so we put it on the toe in front of the right, raise the right hand up, take the left hand to the side. Raise the thigh of the working leg up by straightening the knee, then sharply lower (throw) the thigh, again bending the working leg at the knee.

At the same time, we do not lower the heel to the floor. We do the emphasis while moving down (at its maximum lower point). At the same time, the hands make smooth circular rotational movements. We repeat the movement a few more times, and then change the leg - we become half-turned to the viewer (mirror) with the right hip forward, respectively raise the left hand up, take the right hand to the side and work with the right hip.

If you relax your hips well and bend your leg at the knee, the hip will "fall" on its own.

Let's complicate the main movement "resetting the hip" with the removal of the leg, and we get a new movement - "classic key"(dumping the hip with the removal of the leg).

Starting position - as in the previous exercise: standing in a semi-squat and half-turned to the viewer. The body looks forward, the hips and legs are turned to the side at an angle of 45 °. We put the leg closest to the viewer (working in this movement) in front of the one behind (supporting), on the toe, and expose its thigh and turn it forward (toward the viewer). The back is straight and slightly tilted back, the arms are spread apart (option - the arm of the same name as the supporting leg is raised up).

We perform one reset with the right hip, the emphasis is while moving down (at its lowest point). Raise the right thigh again, and then lower it, while throwing the right leg forward, the toe of the foot stretches forward and down.

Raising the hip up each time, we continue to alternate the impact with the hip down (hip drop) with the hip drop with leg extension. We perform this movement several times, and then change the leg - we work with the left thigh.

"Key" can be performed on weight. In this case, when the leg lunges forward, its toe does not touch the floor, that is, we keep the leg in the air.

We continue to develop the spine and back muscles.

We change the starting position: we stand on a full foot, legs slightly apart (about the width of the foot) and are located on the same line parallel to each other. The body is slightly tilted back, the back is straight, the stomach is relaxed, the knees are “soft”, the arms are at the sides, the weight of the body is on the left leg (as in a pull).

We carry out semicircle of the hips.

We take the hips forward - the body at the same time deviates back, but the head does not throw back in any case (!) - and we take it to the right, outlining (with maximum amplitude) an imaginary semicircle.

Now let's go full circle.

Hip circle- a movement familiar to each of us since school or even kindergarten times. He was certainly included and is still included in a variety of gymnastic complexes called "hip rotation".

At first, to help you check whether your shoulders and upper chest are moving horizontally or vertically during the exercise, you can put your hands on your shoulders.

We combine the semicircle with the hips forward with the semicircle back and perform a full circle with the hips to the left on straight legs. The hips move along all four points: we take them forward (the body leans back, but the head does not throw back), we take them to the left, wrapping the hips, we take them back, transferring the body weight to the right leg, we take them to the right, etc.

While the hips make a circle, the head, shoulders and arms remain at the same level. We repeat the rotation of the hips to the left again, and then we perform a circle in the other direction: right - forward - left - back, trying not to move the upper body and keep the line of the shoulders parallel to the floor line.

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Belly dancing is a great form of activity, but there are many more dance moves that will tone every muscle group in the body.

The best part is that any woman can perform them without having the slightest experience in dancing!

Want to cheer up without exhausting yourself with workouts to the seventh sweat? Just master the following dance techniques.

1. Hip shaking (basic shimmy)

The basic movement in belly dancing is the shaking of the hips. It engages the entire core, including the rectus and oblique muscles, and is fairly easy to learn.

If something doesn't work out for you or you can't move at the right speed (it's all about technique!), Then choose music with a tempo that suits you.

Do a shimmy once a day and I promise you will see your figure transform in no time.

2. Hand snake

Great way to tone your hands! I took dance lessons last summer and one day the instructor made me do a snake for 5 minutes!

At first, this may seem like a mere trifle, but after a while you will feel tension in your muscles. To get the most out of the snake, try to do it for as long as possible.

3. Rotation of the hips in a small amplitude

Do you want to tighten your tummy without really bothering? Rotate your hips in a small circle.

In fact, a small amplitude requires much more muscle control than a large one.

4. Vertical figure eight

This is one of my favorite moves mainly because it is very sexy and also a great addition to any dance.

You can even perform it in a nightclub if you want to make a lasting impression on the guy you like!

One way or another, the vertical figure-eight with the hips engages the oblique muscles of the abdomen, which means it will help get rid of fat deposits at the waist.

As with shimmy, find a song that has a rhythm that will allow you to perform all the movements correctly.

5. Horizontal figure eight

Let's work the abdominal muscles even more actively!

The horizontal figure eight also engages the back muscles. For example, I had some extra fat in my lower back, but it was this technique that helped me tone the muscles in this area and get rid of unsightly folds.

6. Rotation of the pelvis from the hip

This is a great technique for working on the lower abs, which I think is a problem area for many women. Personally, I have more fat in this part, and working on the lower press helps to burn it.

If you have the same problem, then rotation of the pelvis from the hip (that is, with an isolated body) is just what you need!

7. Belly wave

When it comes to belly dancing, most people have an idea of the belly wave, but they don't know that it's not that easy to learn how to do it.

This requires good ab coordination (the ability to isolate the upper and lower parts), which makes the wave an extremely effective technique for toning the tummy.

Don't despair if it doesn't work the first time. The main thing is patience and practice.

Since this wonderful dance became my constant companion, I began to notice its beneficial effect on the abdominal muscles. I really hope that it will also become a part of your life!

I suggest that you perform the dance movements I have given daily for a week, and then write to me what results you have achieved!

He:
Nuuu ... I love initiative girls, initiative. I imagine us kissing. At first, slowly, lightly touching the lips with your lips. Then I lightly grab your lower lip and suck it.
I'm letting go. I run my tongue over your upper lip and kiss you on both lips.
Then I kiss you desperately, like I'm thirsty and you're the only source I can drink from.
You raise your arms and press your palms against my chest. I wrap my arms around your waist and start kissing your neck and shoulders.

She:
tell...

He:
And then you suddenly show your initiative.
You gently push me to sit on the couch and sit down next to me. I stroke your hair, shoulders, back. You run your hand from the knee to my thigh and further - to my fly. You unfasten the zipper and fight the belt with a curse. I help you, and you start stroking my mound in trousers with your fingers.

She:
I sit on your knees, run my nails along the back of your head and squeeze your hair. We kiss.
With one hand you caress my thighs, rising higher and higher. With your other hand, you press me with all your strength to your chest. My back arches and our bodies touch and rhythmically rub against each other.
A stifled low moan breaks through the kiss.
Your hand rises higher on the hip, it is already under the dress. You lower your other hand and firmly but gently squeeze my buttocks with your palms.
I begin to choke with passion, and the kiss breaks for a second. Your lips move down to my neck and you bite it lightly and then kiss it passionately. A hoarse moan escapes my lips. The rhythm quickens.
You pull my dress over my head and help me take off your shirt right away. Now our skin is touching.

*continue, or you?

He:
Keep going, my hand is busy

She:
Egoist!!! I continue!

You grab my waist, lift me up and throw me on the bed. Now I'm on my back and you're on top of me. With one hand you pull off your trousers, I help you. We don't stop kissing. You move your lips to my neck and down to my chest. Your hand slides down my stomach and slips into my panties.
From your chest, your lips return to mine again. Your fingers gently caress my labia. One of my hands caresses the back of your head. I run the second one down your back and at the waist I transfer it to your stomach, and then I put it in your underpants. I wrap my hand around your cock and start massaging it up and down.

Your eyelids begin to tremble with pleasure, and a soundless moan breaks from your lips. Your fingers pick up the pace, and so do mine. And you put your finger in me. A barely audible shiver runs through my body, my eyes roll back. My back arches and I tear myself away from your lips for a moment. I pull off your panties, but you don't touch mine yet. This is the only piece of clothing left. My hand massages your penis, and the nails of the second dug into your shoulder.
We can no longer continue the kiss, too deep breathing mixed with quiet moans. But our lips still touch.

You insert a second finger into me, the rhythm becomes faster and more furious. My head tilts back and a loud sigh escapes my lips. The nails of both hands dig into your back.
You tear my panties and throw them away without getting off me. There are no clothes left. You insert your fingers into me again, but after a second you take them out and enter me. Our moan merges - mine is loud and yours is barely audible.

Your movements are smooth and precise, you fully press against me and stop for a few seconds. We look into each other's eyes.
My lips are red and swollen from kissing, my pupils dilate, my eyelids tremble. We begin to kiss gently and "deeply". You begin to move very slowly and smoothly in me.
Moans through the kiss.
The pace increases, the kiss "breaks" from deep breathing. You take one of my legs and throw it over your shoulder. Rise on your arm and jerks pass into me. I put my other leg on your waist.
You reduce the range of motion, move your pelvis smoothly and slowly. You don't go completely out of me, but you don't penetrate deep either. My arms are thrown behind my head and rest against the back of the bed, my eyelids are trembling.

Mmmmmmmmm
After a minute of smooth sex, you plunge into me as deeply as you can, abruptly and without warning.
A loud moan, the nails of one hand scratching the headboard, the nails of the other digging into your shoulder.
Your movements become sharp and aggressive. Amplitude and tempo increase sharply to the maximum. You enter me very deeply with sharp jerks. My moans become louder, but you hear the beat of your heart even more clearly...

*left for a vibrator... finish reading and now you continue

He:
I suggest you take your time, and prolong the pleasure. I freeze and enjoy the sight of your naked body, you under me, your rapid breathing, interrupted when I start to move inside you.

How do you feel about changing positions? Do you like it from behind or from above?

She:
Both, in any order...
now you describe...

He:
I rise and slowly get out of you. I feel like you don’t want to let me go, but it’s necessary, sunshine, it’s necessary))).
We get up from the sofa to the floor. I press you to me, with pleasure feeling your smooth skin under my palms, hard rough nipples rubbing against my chest, your hot intermittent breathing.
I run my hand from my shoulder to your ass and squeeze it tightly. We kiss. This time without preludes - deeply and greedily, intertwining tongues and enjoying inhaling the intoxicating smell of our bodies.

I take you by the shoulders and turn to the sofa. I keep petting you. One hand travels from your lower belly to your chest, and her fingers begin to draw circles around your nipple.
The other hand, on the contrary, comes off the chest, which she caressed and goes down, between your legs. With my fingers I feel your phlegm. I tease you a little again with my fingers, playing with your lower lips in a depraved way. I slipped one finger between them and begin to move it back and forth. Not deep, but each time slightly pressing on the place where your lips converge.

I free your neck and shoulders from the hair, putting them aside and start kissing you. First behind the ear, in your tender neck. I can smell your wonderful scent. It is in this place that the smell of a woman is especially pleasant.

My finger continues its movements below, between your lips, penetrating deeper and deeper over and over again.
I kiss you below. Where the neck almost ended and the shoulder began. Then I go even lower. Now I kiss your shoulder, but that's not enough for me. I go even lower and cover all the way from your shoulder to your ass with kisses and the last "control" kiss you get right on the chubbiest but firmest part of your body. The other half of your ass also gets my kiss.

I kneel in front of you and turn you around. Now in front of me is a great sight of your swollen lips. I kiss you right there. And then I slowly move my tongue around them.
I kiss you again on the lips, but now my tongue replaces my finger and touches your clitoris.
You let out a loud moan and dug your fingers into my head. I begin kissing passionately with your lower lips, over and over again swiping my tongue between them.

I stand up and turn you back to me again. I put one hand on your lower abdomen, inviting you to move your pelvis closer to me, and with the other I lightly press on your shoulder, forcing you to bend over and rest your hands on the sofa.

I admire this picture for a few moments, and then put my cock to your lips. I press lightly and he penetrates deeper into your hot flesh.
You moan softly and tilt your head forward. Your shoulders tense up and your fingers dig into the crumpled sheets.

Sharply, I go deep inside you, as far as possible. I hold your hips tightly so that you can't dodge and penetrate deeper and deeper until I finally feel something against my cock.
Now I'm slowly getting out, but not completely.
You can't stand it and your ass itself starts to go towards my penis.
I increase the speed of blows and every time you succumb to my meeting. One of my hands leaves your hip and moves to your chest. I squeeze her hard, but gently so as not to hurt her.

I keep hitting you. Peck. This word is perhaps the most appropriate. I pound you furiously from behind, and you moan and shake your head. I see that you like this crazy ride and this makes me even more excited.

I place my hand on your tummy while the other continues to hold your hips. Now it is no longer you who voluntarily go to meet me, but I accelerate your movement.
I slightly lift you up and you seem to be flying in my arms, feeling with what frantic pace I plant between your legs. The leather pouch of my testicles beats against your ass. Each of my movements begins to accompany your sobbing, and between your legs every time you squelch when I thrust into you with force.

I feel my cock go numb, ready for a sudden volley.
Can I cum inside you?

She:
You get out of me, lie down on the bed on your back. You pull my hand, inviting me to sit on top. I turn around and kneel over you, I'm not sitting down yet. I lean on my hands and lean towards your face. We start kissing slowly... half a minute, maybe a minute. Breathing has time to recover, but remains deep.

I break away from your lips, rise above you and slowly sit down on your cock. Your eyes are closing in pleasure, your hands are squeezing my hips.
I slowly begin to move up and down, I put my hand on yours and move it up to my chest. You squeeze and stroke her.
I put my other hand behind my back and lower it down to where our bodies touch. I start stroking and massaging your testicles.

I stop going up and down and start moving back and forth and side to side, while slowly but gradually increasing the pace.
your hand goes down my stomach, down...
you stick your finger between us and start to gently rub my clit.

I arch my back and lean back, putting more pressure on your cock. My movements become faster, the range of motion increases. I put my hands on your knees and you put your hands on my hips to help me move faster. Even faster.. even stronger.
I am unable to control my moan. Your breathing is getting louder.
I lean forward, resting my hands on your shoulders. Nails dig into your skin, but not much, you feel my hands tremble. My lips are trembling. I keep moving.

You take me by the waist and without leaving me turn me on my back. You do not slow down the pace, but only increase it. Getting stronger and deeper. My legs are wrapped around your back, my hands rest on the back of the bed, scratching it.

No longer a groan - a cry. I bite my lips, my eyes roll back, a tear rolls down. Ringing in my head, I hear every beat of my heart.
You don't slow down...

will you finish?

He:
I hard and sharply enter into you, piercing through and through your flesh over and over again. Through the veil of pleasure, I see your hair, wet strands scattered over your forehead, closed eyes, a smile. The corners of your lips tremble, and every time I enter you, a sharp cry escapes from them.
I bite into your lips and begin to move only the pelvis, no longer leaving you completely, but only half and immediately go back towards your uterus.

I kiss your eyes, your flushed cheeks, your neck. I kiss your nipples, and I press you closer to me, feeling a wave of growing pleasure.
You press me with all your strength to you, and I can feel the contractions of your vagina. There were tears in the corners of your eyes. You moan loudly in exhaustion and this is your decisive move, which makes me shoot cum right into your body.

I feel shot after shot emptying the contents of my testicles. We cling closer to each other and lie silently, eyes closed, remembering the fantastic pleasure that we had a chance to experience thanks to each other.

She:
mmmmmmmmmm
Do you want to return to the debate about the economy?

Today, many clips have been created in which a girl dances her booty, in particular, such movements of the sirloin are the hallmark of Shakira and Beyoncé. The dance of these singers is simply mesmerizing, it is impossible to take your eyes off the rhythmic movements of the buttocks, as well as the plasticity and grace of the divas.

Learn to dance as well as they can, and this is best done in a specialized school under the guidance of an experienced instructor.

However, if you do not have such an opportunity, you can purchase a special video course or include a clip of one of the singers and start studying on your own.

Preparing for classes

How to learn to dance beautiful booty? First of all, this requires a huge desire. If you have too much of it, create the right atmosphere: clear your space, remove all things and objects that might get in the way and turn on appropriate music, such as hip-hop, Brazilian funk, or something similar.

Nothing should restrict your movements, so clothing should be comfortable and light. Turn on the lights and stand in front of a large mirror so you can watch yourself from the side. You can learn to dance at home only after warming up and stretching your muscles, otherwise you can interrupt your training for a long time due to an injury to your joints or tendons.

At first, it will be quite difficult, especially if you have previously neglected physical labor and sports. Therefore, experts advise you to first get yourself in shape a little: pump the muscles of the buttocks and abdomen.

There is nothing better than squats and classic press exercises called Scissors and Bicycle. Having become the owner of stronger and more prominent gluteal muscles, you can start exercising at home.

To learn how to dance Booty shake dance, which is called " shaking buttocks dance”, it is necessary to perform the movements in the following order:

stand facing the mirror and slightly bend your knees;
resting your hands on them, imagine that someone put a live fish in your panties and your task is to push it out with an alternate movement of the buttocks;
legs and arms should not move at the same time, the body should be kept straight.

Learning how to dance the booty incendiary: once this exercise is mastered, you can move on to the next one, which involves the movement of the booty and hip:

stand up straight, bend your knees slightly, place your hands at waist level;
start moving in a circle with the whole pelvis, first in one direction, then in the other direction;
having mastered this rather simple movement, you can move on to shaking your booty. Watch how the booty of the girl on the screen dances: her buttocks move rhythmically up and down. Do the same at first at a slow pace, gradually accelerating.

Beyoncé's movement technique

You can learn these movements at home. To do this, you need a little patience, perseverance, and after a couple of weeks of regular training, you will be able to surprise your loved one or your friends by showing a couple of moves at a party in a club.

Stages of training:

Stand straight with your foot slightly wider than shoulder width, knees slightly bent. Keep your shoulders straight and your back slightly arched so that your stomach sticks out a little forward;
Now you need to bring the pelvis so that the lower back is a straight line, with your shoulders slightly lean forward;
Push your butt back. To do this, the lower back needs to be slightly bent, the chest to lean forward, and the shoulders to be pulled back;
Smoothly repeat all movements, gradually increasing speed. The exercise will be fully mastered if you move at maximum speed without losing the rhythm;
Now you need to involve your hands in the process, because Beyoncé moves them too. Position them at chest level. Pull your elbows out, and turn your wrists forward. When bringing the buttocks back, the arms need to be slightly apart, and the chest should be pushed forward. When the butt goes down, they need to be brought together and the shoulders should be slightly forward;
Optionally, you can add a jump. Before you start shaking your booty, you just need to jump forward.

Shakira's movement technique

How to learn to sexy booty dance at home? Singer Shakira does this simply bewitchingly: in all her appearance, the feminine principle and a touch of primitive magic are felt.

Insufficiently stretched muscles can lead to serious damage and injury. Four exercises that will help you test yourself and correct mistakes.

"Spider-Man"

What we check: How flexible are the thigh muscles?

Get into a push-up position. Make sure your arms are parallel to your shoulders.

Place your right foot in line with your palms. The right knee should be bent at a right angle, and the left knee should touch the floor.

Gently move your right shoulder down, bending your arm at the elbow and placing your right palm on your left. Feel a pull in your thigh. Hold on like this for a couple of seconds. Breathe deeply.

Return to the starting position and repeat the same with the left leg. Repeat three times.

There is a problem if the right or left foot is at a different level with the palm, or if one leg stretches better than the other.

The cause of insufficient stretching is muscle weakness. The hip that is the hardest to stretch is the weakest. This causes serious problems with balance, forcing all other muscles to compensate for the "skewness" and because of this, overstrain. And overexertion can lead to muscle fatigue and serious injury.” For example, if your right thigh is weaker than your left, it means you are leaning more on your left leg while walking. If this is not corrected, over time it can lead to "wear and tear" of the muscles in the left knee and ankle.

"Caterpillar"

What we check: tibia and hamstring.

Get into a push-up position. Then begin to take tiny steps towards the hands. Keep your back, arms and knees straight. Gradually, you should turn into the letter "A". Stay in this position for a few seconds.

Then begin to gently move your hands, returning to their original position. Do not bend your knees and elbows.

Repeat this exercise three times.

The problem is if you can't do it without bending your knees and elbows.

Excessive tension in the calves and hamstrings can mean that your legs are not working properly. “This is common among treadmill enthusiasts. They run, forgetting to raise their knees, and for each new step they stretch their feet forward, injuring the muscles on the back of the leg. Improper footwork can also mean putting too much stress on your back, which can lead to serious injury.

"Perpetual Motion"

What we check: how well your hips can move together.

Get on all fours, lean on your elbows. Spread your knees as wide as you can.

Without lifting your elbows and forearms from the floor, begin to move your hips back and forth. Hold each position for a couple of seconds.

Try to increase the range of motion each time.

Repeat ten times.

The problem is if you can’t spread your knees wide enough or you can’t increase the range of motion.

What is the danger?

If there is tension in the hips, then it is likely that all the muscles in your body are in the same tension. Most likely, you lead a sedentary and too motionless lifestyle. Once you start exercising, or at least walking more, your whole body will start to move more easily. This problem is common in older people, who tend to repeat only one movement ("sit-up") during the day. A sedentary lifestyle is dangerous because it can lead to heart disease and high blood pressure.

"Pretzel"

What we check: gluteal muscles.

Sit on the floor with your legs as wide apart as possible and your knees bent.

Bend over to your right leg, while trying to put your left knee on the floor without bringing your legs together. As you bend over, turn your torso and place both hands on the outside of your right leg.

Now try to touch the floor with your chest. Get down to the highest possible height. Stay in this position for a few seconds.

Return to the starting position and do the same with the left leg.

Repeat the exercise two times on each side.

The problem is if you can’t touch the floor with your knee or bend low enough.

What is the danger?

When your gluteal muscles are tense, they are not able to move as they should. And then your back takes on an additional load, which can lead to strain and pain. Train to stretch equally well in both directions, even if you feel more tension in the unstretched muscle. Otherwise, there is a high probability of injury associated with an uneven distribution of the load.

How to fix the situation?

Of course, all the problems voiced sound unpleasant, but there is a solution, and it is very simple. Move more. If you lead a sedentary lifestyle in the office, walk more. If you regularly go to the gym, but still can not boast of flexibility, try to give yourself a balanced workout, not focusing on the same muscle group all the time. Don't forget to stretch! Stretch 3-4 times a week, and in a month everything will change.

Based on materials from the site http://www.psychologies.ru