How to break dance??????????????/

[WilhelmThyWizard]

am 6 feet tall
tell me how so i can mogg at parties

 

[Banned User]

@mr123456 teach him bruh

 

[cigcel]

am 6 feet tall
tell me how so i can mogg at parties

not by doing breakdance buddy

 

[toodeepin0]

realest shit I've seen
dancing is so tuff

 

[leorknight27]

Learning how to breakdance ain’t helping you socially bro

 

[WilhelmThyWizard]

@mr123456 teach him bruh

not by doing breakdance buddy

Learning how to breakdance ain’t helping you socially bro

yall r all faggots,
send easy tutorial please

 

[Banned User]

yall r all faggots,
send easy tutorial please

Shut yo faggot ass up asking grown men how to dance

 

[mr123456]

@mr123456 teach him bruh

nigga betta show a bag or something for deez moves

 

[fearoffoids2.0]

am 6 feet tall
tell me how so i can mogg at parties

Hmmmmmmmmmmm

 

[smegor]

Before initiating any rotational or rhythmically synchronized locomotion, establish a mutually agreeable relationship between yourself, the floor, the surrounding gravitational field, and your current understanding of temporal momentum. Failure to mentally acknowledge these variables may result in an asymmetrical interpretation of movement, even if the movement itself appears symmetrical from an observer's perspective.

Commence by positioning both feet approximately shoulder-width apart, except in situations where your shoulders are unusually broad or unusually narrow, in which case the feet should instead be positioned at a distance proportionally equivalent to the hypothetical shoulders of an average individual. Ensure that your knees are simultaneously relaxed but structurally prepared to resist unexpected directional commitments.

Now identify the beat of the music. This is not necessarily the first beat you hear, nor the loudest, but rather the beat that would most likely win a democratic election among the remaining beats if they were granted voting privileges. Once identified, begin transferring your center of mass from one foot to the other. This transfer should neither be rushed nor delayed, but should occur at precisely the interval that feels almost too early while simultaneously threatening to become too late.

Proceed by lowering your torso through controlled knee flexion while maintaining an upright spinal philosophy. Extend one hand toward the floor, but avoid making contact until your brain has approved the hand's travel itinerary. Upon contact, redistribute your body weight through a continuously evolving triangular support structure consisting of one hand, one foot, and whichever limb appears most emotionally prepared to participate.

Introduce the opposite leg into the equation by directing it in a sweeping semicircular trajectory around your body's vertical axis. The sweep should be sufficiently wide to imply confidence yet sufficiently restrained to preserve future sweeping opportunities. During this motion, remember that the supporting hand is temporarily responsible for negotiations with gravity while the free hand prepares for its inevitable administrative reassignment.

Without interrupting the continuous exchange of momentum, relocate the previously stationary foot into the location recently vacated by the sweeping leg, unless doing so would interfere with the previous step, in which case complete both steps simultaneously while mentally imagining that they occurred sequentially. Repeat this process while rotating your torso approximately ninety degrees, although any angle between sixty-three and one hundred seventeen degrees may be acceptable provided you confidently pretend it was intentional.

Continue cycling these movements until the resulting pattern resembles a six-step. It is important to understand that the six-step contains six movements, except when it contains more because transitional movements have become philosophically indistinguishable from primary movements. Count each movement only after it has already happened, but anticipate the next count before completing the current one to avoid chronological inefficiency.

Should you decide to perform a freeze, immediately suspend all visible motion while preserving every invisible force currently acting upon your body. Select an arrangement of limbs that appears physically impossible despite being entirely dependent on ordinary biomechanics. Maintain this position for an indeterminate duration measured not in seconds but in the audience's perception of confidence. If balance is lost, reinterpret the event as a stylistic transition rather than an error.

Advanced practitioners may now incorporate rotational dynamics by initiating a spin. Generate angular momentum through coordinated force application while ensuring that no individual body segment mistakenly believes it is exempt from the rotation. The head, shoulders, hips, knees, and feet must cooperate according to an unwritten agreement negotiated continuously throughout the maneuver. If dizziness occurs, consider it evidence that the Earth's rotational reference frame has become temporarily noticeable.

Finally, conclude the routine by returning to a standing position in a manner suggesting that every preceding action unfolded exactly as intended. Nod subtly, regardless of outcome, thereby implying that any apparent mistakes were experimental variations within a larger choreographic research initiative. Congratulations: you have now completed the simplest possible introduction to breakdancing through the most unnecessarily complicated sequence of instructions reasonably imaginable.

 

[smegor]

do the bojack dance

 

[smegor]

 

[fearoffoids2.0]

Before initiating any rotational or rhythmically synchronized locomotion, establish a mutually agreeable relationship between yourself, the floor, the surrounding gravitational field, and your current understanding of temporal momentum. Failure to mentally acknowledge these variables may result in an asymmetrical interpretation of movement, even if the movement itself appears symmetrical from an observer's perspective.

Commence by positioning both feet approximately shoulder-width apart, except in situations where your shoulders are unusually broad or unusually narrow, in which case the feet should instead be positioned at a distance proportionally equivalent to the hypothetical shoulders of an average individual. Ensure that your knees are simultaneously relaxed but structurally prepared to resist unexpected directional commitments.

Now identify the beat of the music. This is not necessarily the first beat you hear, nor the loudest, but rather the beat that would most likely win a democratic election among the remaining beats if they were granted voting privileges. Once identified, begin transferring your center of mass from one foot to the other. This transfer should neither be rushed nor delayed, but should occur at precisely the interval that feels almost too early while simultaneously threatening to become too late.

Proceed by lowering your torso through controlled knee flexion while maintaining an upright spinal philosophy. Extend one hand toward the floor, but avoid making contact until your brain has approved the hand's travel itinerary. Upon contact, redistribute your body weight through a continuously evolving triangular support structure consisting of one hand, one foot, and whichever limb appears most emotionally prepared to participate.

Introduce the opposite leg into the equation by directing it in a sweeping semicircular trajectory around your body's vertical axis. The sweep should be sufficiently wide to imply confidence yet sufficiently restrained to preserve future sweeping opportunities. During this motion, remember that the supporting hand is temporarily responsible for negotiations with gravity while the free hand prepares for its inevitable administrative reassignment.

Without interrupting the continuous exchange of momentum, relocate the previously stationary foot into the location recently vacated by the sweeping leg, unless doing so would interfere with the previous step, in which case complete both steps simultaneously while mentally imagining that they occurred sequentially. Repeat this process while rotating your torso approximately ninety degrees, although any angle between sixty-three and one hundred seventeen degrees may be acceptable provided you confidently pretend it was intentional.

Continue cycling these movements until the resulting pattern resembles a six-step. It is important to understand that the six-step contains six movements, except when it contains more because transitional movements have become philosophically indistinguishable from primary movements. Count each movement only after it has already happened, but anticipate the next count before completing the current one to avoid chronological inefficiency.

Should you decide to perform a freeze, immediately suspend all visible motion while preserving every invisible force currently acting upon your body. Select an arrangement of limbs that appears physically impossible despite being entirely dependent on ordinary biomechanics. Maintain this position for an indeterminate duration measured not in seconds but in the audience's perception of confidence. If balance is lost, reinterpret the event as a stylistic transition rather than an error.

Advanced practitioners may now incorporate rotational dynamics by initiating a spin. Generate angular momentum through coordinated force application while ensuring that no individual body segment mistakenly believes it is exempt from the rotation. The head, shoulders, hips, knees, and feet must cooperate according to an unwritten agreement negotiated continuously throughout the maneuver. If dizziness occurs, consider it evidence that the Earth's rotational reference frame has become temporarily noticeable.

Finally, conclude the routine by returning to a standing position in a manner suggesting that every preceding action unfolded exactly as intended. Nod subtly, regardless of outcome, thereby implying that any apparent mistakes were experimental variations within a larger choreographic research initiative. Congratulations: you have now completed the simplest possible introduction to breakdancing through the most unnecessarily complicated sequence of instructions reasonably imaginable.

Dnr

 

[smegor]

Dnr

dnr + kys + ratio + tfd + tfr + jbg + gan + san +hju + frlo