Preparatory course with OG & "Deep roots"

How and why do you need to keep a diary?

Article by Maria aka Mrs. Carl "Deep Roots Team" Creative people keep diaries since a very beginning. And it is not just a lust, it is something what is really needed. As the saying says: " Everything is on paper, so that everything is endured and slept as quietly as possible..." At the beginning of every project of "DeepRoots" we suggest our students to write down their thoughts about the classes, course topics, take notes and carry out the writing tasks. You might think: " What do I need to keep a diary for? It takes a lot time", "It's not for me" I will try to make it clear.

???? HOW How consciously do you train and teach? Do you pay attention to your state? Do you have any goals, aims and purposes? Probably you have got the time, but do not want to practice, understand the issues of teaching, although you want to grow in these issues. Asking yourself different questions in diary might help you to understand the reasons. Also take notes about what you have done during the class, what had you remembered from the lecture, what you want to work on, how can you use these knowledge in your dance or teaching process at the moment. Analyze, mark the thing you are mostly interested in.

???? WHY - When we practice and especially during the teaching process, interesting ideas, inspiring thoughts go through our mind and we better write it down until they will be forgotten. - You can see what you have done and what hadn't. What you like the most and what you need to concentrate on. What is easy for you to do and what take a lot of energy from you. - Notes help you to stay conscious in dance and in your life. They keep our brain working because if you need to write down your thoughts after the class, you need to stay concentrated.

✌ Thanks to the diary, I was able to understand my main "stoppers" found out where I couldn't go through and how to change it. Thanks to my diary a lot of training programs have been released. When I feel down and do not want to do anything, I go through my diary to find old notes about my best days, my inspiration and discovers, then I feel a lot better. These notes help me to structure the material from classes in better way. Writing down variations on footwork, giving them names, I can remember it better, and if it happens to forget, I can always go back to it in my diary. Also I share my emotions and thoughts with the diary. Sometimes I practice with the pleasure, and other day just cannot dance properly. But I am glad that I can write down what I could do at least something and then my diary becomes a big support for me and also gives me a chance to see the progress. This is a conversation with yourself, the place to meet with your own thoughts and emotions.

✒ If you do not really know what to write, try to start with the "Automatic Writing". It means that you do not have to think in advance about what to write, put the pen on the paper and let it go. This method is also known as "Direct stream of consciousness" Taking the notes also helps you to open the creative flow, which is known to be very important for all creative people. The Diary is the main source of ideas for me as a dancer and teacher. Perhaps it will be an invaluable service to you. Just try it!

The task

Here and now, at least for a while of intense course keep a diary to write down everything happening with you in these 3 or more days. There will be things which we will ask you to write down, and also feel free to include to your diary everything that you find important. The most important is to start it now since this particular moment. You can keep the notes on your phone, but it would be even better if you start a handwritten diary.Take a pen and a notebook. Give it any name you want - e.g. 'My training diary', 'The Diary of development', 'The House Dance Diary'....And write down the first thing: ' October 8th - The beginning of House dance intensive. I will write down everything that will be important for me in these three days.

ABOUT TRAINING AT HOME. PART ONE.

In this section, we will share our experience on how to make home training and self-training for the beginning possible and later more qualitative and enjoyable for you. Let's start with the time and place for classes.

???? 1. TIME. The best time for any kind of practice, including home training, is MORNING. Healing time and all that has nothing to do with it. The things we are talking about are much simpler. If you complete tasks or train, etc., straight after you are awake, you, first of all, complete some huge task and the whole day is free, and also you are charged with energy and a sense of satisfaction for the day, and also you don't have to think about it during the day. And training right in the morning increases your chances of regular practice by about 80%, in one fell swoop.

Why? How many times have you walked around all day with a draining thought: "I'll come home and practice it, "" I'll put the baby to bed and practice it," "I'll clean it and practice it," and so on, everyone has his own record paying in his head. How many times did you end up falling down and either forcing yourself to dance at all no longer on the high or putting it off until tomorrow? And so weeks and months passed and then you concluded that training at home is not for you? We suggest that you get rid of these problems by PRACTICING in the MORNING! What if this morning priority changes your entire dance life? YOU DON'T NEED MUCH TIME! JUST 20 MINUTES IN THE MORNING, BEFORE BREAKFAST.

???? 2. PLACE If you practice at home, the best option is to train in the same place in your apartment. Over time, just when you come to this zone, you will already feel a surge of energy. Why is it difficult to work and train at home? Because this is a place of rest. Try to select a small corner for you.

And don't say that there is no place at all. I know people who trained in the bathroom, because they lived in a Studio apartment with their parents and it was not convenient for them to practice. Kitchen, corridor, nook by the bed, what is it for you? Find your place and start filling it with the power of your House dance. Don't take our word for it - check every recommendation. Be an Explorer and a traveler-get experience.

The task

Practice in the mornings during the Intensive course and few days after. If it's morning already there you are at, just do something - dance freely or groove with the music, just to feel good, or practice exercises from the previous day or from the last class you attended.

Do it every morning for 5-7 days to experience it yourself and see if it works for you. You might think that it is not for you, but you will never know if don't try it. And of course choose the place for practicing, after some time you will leave a small message for yourself, you will know soon what the message it will be.

ABOUT TRAINING AT HOME. PART TWO.

On the one hand, the modern world is full of opportunities, but on the other hand, we still have 24 hours a day, and it is impossible to use all our opportunities. And training at home is something that will help save our time (and even money), and at the same time bring a good result. From someone's point of view 'home training' seems frivolous, shallow, simple, but in fact, many dancers face difficulties in training this format. And in this article I will try to describe and analyze these difficulties.

1. In training at home, as well as in self training in the gym, we occupy two roles at the same time: a dancer and a teacher. And it is very important to realize this. In other words, our entire resource, which is used to be spent on being just a dancer (or just a teacher), is divided in half. It is no longer fair to expect the same results from ourselves as when we are in one of these roles. Therefore, when we train at home, we are assigned all the tasks that a teacher (and a dance hall) usually performs.

2. This means that you are the one who is responsible for the "working" mood. If you come to the gym or train with a teacher, this mood is often given as a bonus. Therefore, it is important not to skip this moment, but to find those rituals that will help you set up, and perhaps even inspire yourself to train. Maybe you should start training with the music that makes you rock, or watch videos of those dancers that inspire you.

3. Or maybe it is better to start training with what brings you the most pleasure. This helps solve the problem of "entering" the training session. When training takes place in the gym or with a coach, the gym itself and the time limit does not allow you to walk around for hours, which we often encounter at home. And so when we know that we are going to start doing something that brings pleasure, the resistance usually goes away, and we just start training.

4. If we return to the question of what the teacher's tasks are, it is important to say what these tasks are. I see two main ones: setting the educational framework and providing feedback. The first task is to create such conditions in which interest is awakened, interest is realized, in which you want to develop and move on. If it is very simple, we like to tease (give ourselves something interesting that you want to dive into ) and inspire ourselves. And the second is about being a supportive mirror. And this is really very important. We should not give ourselves grades, as in school, on the contrary, it affects us very destructively. And you should not criticize yourself and poke at what did not work out, it is very demotivating. We, as a mirror, must notice everything we do without evaluation and support ourselves in this.

5. And here we come to the following problem: it is easy to not give yourself enough credits while training at home, especially when you are training by yourself. The very format of training (training at home is not serious), the whole process (I'm doing something stupid), the result (everything that I get does not matter), etc. Therefore, it is very important to be attentive to this process, and not allow it to develop. And also organize support for yourself, in the form of fair feedback, in the form of other dancers who also train at home and face the same problems. In general, everything that will help you realize the value of your training, and what you do.

6. Perhaps this should have been the first point, but it is also important to answer the question: "Why do I need to train at home?» And when we ask this question, we are faced with the question of what goals we are pursuing. And here it is worth noting that the goals (as well as the results, and the format itself) can be very different from the goals of training in a group or in a gym. And when we try to achieve the goals we set for ourselves in the gym at home, we are often disappointed. It is important to adapt these goals to the new training conditions. Let training at home become a tool that helps you to dive deeper into your dance, enjoy it and get to know yourself better. The author of the text is Maria Golyuk (psychologist, dance and movement therapist and Gestalt therapist) note is written specifically for the online House dance course.

The task

Task for the Article - think about the information you have just read, read it again if needed, and write down some thought it has caused to your diary + complete the task.

Task is following - It doesn't really matter if you have problems with practicing at home or not. Just take a pen and ask yourself: ' Why do i practice?' and just write down everything what comes to your mind - 1. because…, 2 because…. and so on. Set the timer for 20 minutes and do the exercise. if you think that you there is nothing left to write but still have the time, just keep going till the time is over. who knows, maybe you will find something new))

When you will be done with with task highlight the most charging 3-5 thoughts. Go through them one more time - do these things really charge and inspire you? Yes? Then write these 3-5 punkts down to a piece of paper.

Do it as beautiful as you can and then hang it on the wall in your practicing area.

What's your power, bro & sis? or strong dancer = healthy dancer

Read before turning on the video.

✌ Hi, in this video you will find 11 exercises from OG that will strengthen your body, develop endurance and prepare you for confident movement in the floor. "Strong dancer = healthy dancer" is not just a phrase, it is a rule that must be followed constantly.

When your body is strong, you are ready to do more, dance longer, and therefore enjoy the process. What should you do? Watch this video and do all the exercises that OG offers. Remember them and write them down in your diary. We suggest you practice them every day.

For example, in the morning when doing exercises or at any other time of the day. Make them a natural part of your day, like sleeping, brushing your teeth, having lunch, or scrolling your Instagram feed. The first week may be necessary to force yourself, but after 7-10 days, it will already become part of your daily life. If one or two of these 11 exercises will be too difficult for you to perform, then for the time being, remove them from your list and practice, which you are able to do. Later, when you already feel confident in what you have chosen, add something that was difficult.

Well, turn on the video and let's go

Lessons on Groove & Sliding

The task is simple, complete the lessons, and after each of them, be sure to repeat what you have mastered within 5-10 minutes.

And after practice, be sure to write everything down in your training diary. Make notes succinctly and clearly, so that when you open them in a year, you understand what it is about. Describe all the principles and methods that you used in the og lessons. What I mean about principles and methods:

- divided in the lesson on Groove body into sections:

Did short Jack only with the hips
Did long Jack involving the entire body

- used different movement patterns:

They made a sharp, jerky movement
Did the movement smoothly, connected

- added hands to Groove, highlighting their accents
- were always connected with the music, passed the groove of its character
- were in connect with ourselves, how I feel this groove, how comfortable I am while doing it.
- we connected a specific groove with a specific step to feel and train the connection between the groove and the footwork, how one affects the other and vice versa.

That's not all, because you can still write down different nuances that OG mentioned. This is very important, because then, all this will help you understand how to develop other steps, other grooves, and so on. We will discuss this in more detail on the third day of our intensive course.

So as a result you should have this note in your diary about the groove and about the slide.
It's time to start! Let's go

ARTICLE - How not to lose your enthusiasm?

???? ???? We live in a world where finding information is not problem at all. There is a lot of it, and it is easy tobe found. But there are many difficulties when it comes to the point of choosing the right one, and how not to lose enthusiasm in what we do. In other words, this article is about motivation. I think each of us at least once took part in a project, and at first the motivation was at its maximum, but over time it became lower and lower and went out altogether. I call this " the end of the demo version of your motivation. Buy the PRO version." And indeed, motivation is something that has its own characteristics, which it is important to know about.

And the first feature is that it needs to be maintained. Yes, even if you really love what you do, you will still have to work on your interest, because it will become overgrown with weeds, and then you will not find it at all. In the situation with our beginnings, this is due to the fact that when the wow effect of being new goes away, and the new neural connections are not yet strong enough, we have to look for fuel ourselves to continue further work. If we have been "in the subject" for many years, then the problem is the nature of the interest. In order for it to live, it needs to be cared for and fed. If we really like what we are doing and we want to continue, then there is the question: how can we maintain this motivation? Motivation is often divided into external and internal. It is well known to us from school: "to Learn that would not get bad mark/to pass the exam/so that parents do not scold".

Therefore, we will now talk about internal motivation. Internal motivation is our innate motivation, which sincerely "wants" us to apply and implement our interests and abilities, and helps us in this. It has three clear "laws of development", and if we follow them, our motivation grows and develops.

First, we must maintain the position of "author of your life". That is, to do it not because "it is necessary", but because I can and choose to do it. The more we act from a "must" position,the lower our internal motivation. The more I perceive what I do as an expression of free will, the more my internal motivation increases.
Secondly, our work should be balanced between what I am good at and what seems difficult so far. For example, training should not consist only of easy tasks, or only of very difficult ones. It is important for us to feel competent. Therefore, it is important that we do what we can. But it is also important that in the course of training there is something for which you need to try. If I feel competent in the process, my motivation for this activity increases.

Third, it is important to monitor the overall condition. Since the will is involved in motivation, it is important to know what contributes to its best performance. If we sleep and eat enough, are not in a state of illness and stress, we do not have a lot of distractions, and we are not in " multitasking mode. !!If we treat ourselves with acceptance, approval, and love, and there is enough support in our life!!, then our will grows stronger and helps to increase internal motivation. Dance, and don't forget to take care of your motivation!

Books on the subject:
1. Neil Fiore "Productivity tools for overcoming procrastination"
2. Theodore Bryant "Self-Discipline in 10 days"
3. Dan Millman "Perfect control of the body and mind"
4. Kelly Mcgonigal, "The Willpower Instinct".
Author of this article - Maria Golyuk

Task
To think about the article, write down in the diary the thoughts that came up to your mind.

ARTICLE - Motivation where is it? How is it? What is it?

"In almost every activity, you can hear the question "Where can I get motivation from?» And in dancing, this question is also relevant. "Where do I get the motivation to go to training?"; "Where do I get the motivation to practice the technique?";"Where do I get the motivation for regular training?". And, for some reason, the most popular answer to this question is the one about willpower. Take will in a fist and make a dash. Start with " I don't want", and then get used to it. Force, persuade...and so on. I think everyone who has tried to do this knows that then comes the rollback. Because external efforts are not enough to become motivated.

This month I have listened to several interviews of different people, masters in what they do, each in their own field. And when they got asked about motivation, they answered pretty much the same thing. "How do I motivate myself? I don't. I'm just in love with it. I do what I love. And it doesn't make sense to do something without love."

Indeed, there are people who are madly in love with what they do. And they are not faced with the question of motivation. But it happens that we come to some area not because of love, but for other reasons. Sometimes, even in your favorite field, there are activities that do not excite you at all. In this case, motivation should consist of two parts: self-discipline and love.

As for self-discipline, it is not about violence, but about the ability to agree with yourself. But love is not something that should fall on us while we are sitting on the couch, but something that we should develop. Yes, there is love at first sight. But even this, after a while, you will have to support yourself. And it happens that you are doing something, you start to look closely, study, gradually wakes up interest, which encourages you to go deeper and then love comes. Be proactive. Love and fall in love with dance again and again. Let a real, burning interest become your main motivation!"

Lessons on Footwork & Floorwork

Before you begin the lessons, You need to complete task

1. Repeat the Grooves + steps with which OG connected these grooves. And then choose a couple of new basic steps and try these Grooves with them. And in the end, just dance freely using these Grooves and be sure to use your hands to make accents with them.

Set at least 10 minutesto complete this task, or more if it is possible.

2. Repeat what was in the lesson on the Slides. First, do each element separately. And then dance using new movements in your dance. Dance freely constantly including the slide in a circle, then from side to side. Do 2-3 freestyles for 2 minutes each for different tracks.

Only after you complete all this, go to the new lessons.

First musical exercise

"Musical exercise" in this task, you will find three tracks and train your imagination .
What do you need to do?

1. Try to put yourself in a situation of maximum concentration on music. Take a comfortable position of your body, sit down or lie down, you can even stand, the main thing is that you would be as comfortable as possible. Don't be distracted by anything. Put down your phone, book, computer, and so on. Only you, your imagination and music.

2. Turn on the first track and imagine that you need to shoot a video for it and then you come up with it. Let your imagination create pictures of the music that is playing, while doing it your eyes may be closed or open. Try not to force anything, you do not need to imagine strenuously if nothing comes up or force yourself to go in some way that you like, let everything happen by itself. The first time may not work out very well, but with practice everything will come. Don't forget fantasy needs to be trained - more precisely, let it be. Those pictures that come to you do not necessarily have to be connected, because it can be an abstract clip ???? , but try to understand after whether there was a single line in the images that were born in your head, the keyword AFTER listening to the track.

3. Describe on a piece of paper the images that came to you while listening to the track, not necessarily all, you can choose the most vivid moments.

4. Now listen to, imagine and describe on paper 2 and 3 tracks.

5. Choose the track that you liked the most and just move freely based on the images that came to you during listening

6. Pay attention to whether you remained within the framework of those images that appeared when you was listening to the track or they developed, supplemented even during the dance, write down on paper if something new has come.

???????? house tracks for exercise ????????

Be yourself in the dance

This is " one of the most familiar and popular fears of a dancer to be monotonous, boring, like the others. And as an escape from this fate, many set themselves the task of developing their own style. I didn't just use the word "develop" because that's the meaning dancers use when they want to find their identity. And today I want to explain where this "own style"comes from. I want to explain why I focused my attention on the word "develop". For me, it is a little mechanical and unnatural, and also it does not reflect the path that the dancer goes towards his own unique style. What is this path? It has two directions, and two ways. I would even say that these are two parallel roads that we are walking along at the same time.

And one of these ways is, of course, technique and training. In order to find our own style, we must teach our body certain technical moments, certain movements, positions, and ways of moving. And we teach them not to dance "correctly" now, but to expand our motor vocabulary. Expand it and use it as we want, as our body wants.

The second way I call 'the road to myself'. A road that leads deep into your body, leading to your impulses, your body needs, your traits, your uniqueness. This can be represented as follows. We were given a contour, coloring. And they gave everyone the same one. This is just about the equipment and about the base. And now it needs to be colored. Choose the material that we will use to do this, crayons, pencils, paints. Select a color, tone, and hatching method. This is the second road, and this is the way to yourself. Each of us will choose his own color, his own material, and his own way of decorating. And if you gather 100 people and ask them to draw an Apple, the probability that we will see two identical drawings is almost zero.

So in dance. The task of the dancer is not only to learn the technique, the base, fundation but also to paint it with your body. Each of you, absolutely each of you, is unique. Someone notices this and can use their personality, and someone does not notice it, and this makes it as if inaccessible. But if we stop, listen to ourselves and look inside, we will see that there are all the materials to make your dance color."

What should I do if there is no result? Where is it? When will it be here? "Why don't I have a result?»

A question that concerns many dancers. On the one hand, the results are very simple: if you do something, something will definitely work. It doesn't happen that we take actions and there is no change after them. That's the way everything in the world works.

On the other hand, the results are very difficult: What is the result for me? What kind of results do I expect (in terms of quality, size, and duration)? Can I notice results? Am I devaluing my work? Do I have too high expectations of myself? Will my actions lead to the result I want to achieve? And these are not all the questions we need to ask ourselves in order to find the lost result and understand what is happening to our result in General. Results sometimes the thing is very tricky and elusive, which lives by certain rules. And today we will look at the main ones.

Rule 1. What I have already written above. And that, it seems, absolutely everyone knows and understands. In order to get changes, you need to perform actions. And back. If we perform actions, they will always have a result. If you spend 30 minutes every day working with your foot technique, then in a few months, your feet will definitely be more technical than before you start training.

If you spend 30 minutes stretching every day, then in a couple of months, you will definitely become more flexible in the very place that you stretched. And so on. 30 minutes and every day – conditional data. You can exercise less often and for a longer time, the results in this case are only a matter of time.

Rule 2. for me, this is one of the most important rules and skills in the field of results. And it sounds like this: in order for the result to be, you need to be able to notice it. You will not wake up one fine morning with the realization that you hear and feel the music perfectly, your dance is amplified, diverse, you have a good command of the levels. You are confident, your technique is on top. Here, at last, you have achieved your result. No, unfortunately, this will never happen.

The result is something that comes gradually. Small dose. Yes, it does come unnoticed. Because every day we change just enough so that it does not change our current life much. Yes, we can Wake up one morning and notice the daily changes that have been happening for six months. But to do this, you need to be able to notice. Notice very small but real changes. Today I've entered the circle 5 times, this is 2 times more than the previous time. Today I've danced for 5 minutes longer, and I was even less tired than yesterday. This week, in total, I've trained for 2 hours more than the previous week. In my improvisation, I have already noticed a new movement 3 times, which was not there before.

Write down your results, keep a diary, and shoot a video of yourself. Because we get used to new skills and abilities very quickly and it begins to seem to us that this has always been the case, and this is not the result.

Rule 3. Our improvisation will not get better if we're going to do some stretching. The arms will not become more alive if we only work on musicality. In other words, in order to achieve a certain result, we must do exactly the actions that will lead to it.

If you notice that in some area of dancing for a long time there are no results, then check whether you really devote enough time to this? If you do not have enough self-confidence, then working on the technique will not help. This is compensation that will not give the desired result. If you want to make your dance more technical, you should not devote every training session to improvisation. Take care of the equipment

Rule 4. For real results we need to have realistic expectations. I can't easily start dancing in a circle if I don't go to jams. I can't improvise freely on a base if I haven't learned it. I will not be able to train for 8 hours a day if I work and study at the same time. We very often set ourselves over-the-top tasks, and sometimes absolutely unrealistic expectations from ourselves. And often we forget to pay attention to the conditions in which we live and train. If before today's battle I almost did not sleep or eat, then the probability that I will be awake and feel comfortable is definitely reduced. If I train almost every day and do the same thing at every training session, the probability that tomorrow I will "suddenly" become lazy increases dramatically.

Rule 5. When we look for" lost " results, we need to look wider. Our dance is more than a technique, more than the ability to dance a base, more than our musicality. And when we develop one thing, something else develops in parallel, something that is somewhere nearby. After a" failed " exit on the battle, where your goal was to make the chips you planned, which you failed to do, you begin to "eat" yourself. And at this time, you pass by the realization that in this exit you are more musical than in the previous one, and your self-confidence has clearly become one level higher, judging by your self-perception during the exit.

Develop yourself in a variety of ways. And pay attention to your results in all areas of your dance life.

Second musical exercise

"The character of music"

There are three different house tracks in front of you. Each track has its own character and mood. Your task is to pay your attention to the music and feel how different mood is reflected in your dance. What exactly should be done with each track:

1. First of all, switch it on)))
2. For the first minute, just groove and pay all your attention to the music, feel what it is, how you want to groove to this track, do not invent anything from your head, let your body choose its own movements.
3. With the state you have found, start dancing and be connected with the music, don't think about the movements, let the music guide you
4. Dance for a whole track, from start till the end or at least 3-4 minutes. While dancing, your thoughts can fly away from the music, it's normal, just bring it back.
5. Do all this with each track.
6. Analyze what just happened to you. What were these tracks like for you? Different or similar in condition, character? Was there a difference in the dance with different tracks, in the ways your body reacted?

P.S. this and previous task on musicality become clear with the time, so include it to your regular practice

Last task - NEW KNOWLEDGE IN YOUR DANCE

Today, right now you will try several different techniques of how to include everything, that you have learnt at classes, to your dance, in different ways. I just want to say that there are a lot of tasks and if you perform them at once, your head may explode, so you can divide everything into 2 stages. For example, do in the morning half and then complete the rest in the afternoon . But you can do it all at once if you really want to. All these methods of freestyle dance development can be used with any of the movements.

For example, task # 2 can be done with groove, slide, or any other element. It's the same with task # 4 and # 6 and all the others. Applying different techniques to the same step makes it easier for its to become a part of the dance. So let's do it P.s. Do all the tasks as you understand.

No need to clarify anything. Just read and follow as understood from what you read.
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The first task is to repeat what was in the lesson on the groove for 5 minutes.
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The second task is following: dance 2 times for 2-3 minutes, during which you freestyle, trying to keep the Jack in the body, then long, then short, then smooth, then hard. Most likely it will be difficult, and when it is difficult it is good, so there is a large field for growth and development, overcoming difficulties, moving forward.
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The third task is about you dancing 3 times for 2-3 minutes each time, now you dance freely, as you want, groove, footwork, everything is free but for each time, there will be a different task.
- the first exit, it's all smooth, like a smooth Jack, but as I said, Jack is not required here, the groove can be any, various, it's just the general description of your dance - smooth, fluid, connected.
- the second one is hard, powerful, sharp, abrupt.
- in the third exit you are different, sometimes smooth, and sometimes hard, abrupt, play with these characters.
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Number 4 is about the lesson on groove, where OG used his hands, made movements with them to highlight the accents in the music. The task is as follows:
- 2 minutes swing freely, without footwork, just groove free and use your hands. Listen to music, feel the music and highlight accents with your hands, let them draw, music in space.
Make 2 full freestyle dances for 2-3 minutes, already with footwork and with attention to your hands, highlight the accents with them, just as when you were grooving at the beginning.
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Task number 5 is to repeat everything you have learnt at classes on sliding.
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The sixth task is following: what OG shares in the lesson on sliding, makes it clear about how and for what you can do and use this movement. Remember what OG said about the slides being used to move in space, to move around the entire scene. When you complete the task, be sure to include this moment in your dance, so that you constantly move and take up a lot of space.

And so the task on the slide, do 3 freestyle dances, only with the slides. It' will be cool if you use in these freestyle the movements that you learned with OG, but also do any other versions of the slides with your feet, just what you get here and now. In addition to the slides in your freestyle is no longer what is should be.

!!! An important rule for this task is not to stop during the freestyle at all, do not make hitches, pauses, and so on. Even if you are planning to make a specific step, and your feet went in the other direction, then follow your feet, let some new movement be born, do not stop the flow.

After each exit, rest for a minute, and during the rest, go through your exit in your head. Whether you moved in space, whether you made movements from the OG, whether you filled every movement with music, and so on. If something you thought was not enough in your dance, then during the next one pay more attention to this direction, which would make it better.

And so 3 freestyle on slides, 2-3 minutes each. We can begin.
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Number 7 is to repeat Suzie Q - the step that you have practiced during the Footwork class.
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Eighth task is to choose one of the variations on Suzie Q and do the following with this variation - you dance freely and at the end of each SECOND eight, you do the selected variation. So it goes:

1 - 2 - 3 - 4 - 5 - 6 - 7 - 8 - 1 - 2 - 3 - 4 - free dance, and on 5-6-7-8 Suzie Q variation. And then you continue freely 1 - 2 - 3 - 4 - 5 - 6 - 7 - 8 - 1 - 2 - 3 - 4, and on 5-6-7-8 Suzie Q variation and so on.

Dance so for 3-5 minutes, in the process, if you want, you can change the variation that you do at the end of the second eight. + periodically in the first free eight, you can also include turns with sliding, then the hands, then make a smooth movement or hard.
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The ninth task is floorwork. a simple and clear task, you do the freestyle and constantly include floor enters from the lesson to the Floorwork in your dance, then one or the other.

The same rule works here - do not stop during the freestyle at all, do not make hitches, pauses, and so on. If you were planning to make a specific approach, and your legs or body went in the other direction, then follow a new direction, let some new movement be born, do not break the flow!

And so 3 freestyle dances 2 minutes each , in which you include visits from the lesson to the floorwork. We can start now