kicks英文名

KICKS只是杂志的英文名,踢的英文.抽象理解为鞋,SNEAKER是直接指运动鞋.前者一般不能直接指鞋

绝对首创，抄袭死Wing Chun (Chinese: 咏春; pinyin: Yǒng chūn; literally "Spring Chant"), also romanized as Ving Tsun or "Wing Tsun" (and sometimes substituted with the characters for "eternal springtime"[1]) is a Chinese martial art that specializes in aggressive close-range combat. The characters (永春) "forever spring" are also associated with some other southern Chinese martial arts, including Jee Shim Weng Chun (Yong Chun) and White Crane Weng Chun (Yong Chun). Main article: History of Wing Chun Wing Chun was originally passed down from teacher to student orally rather than through written documentation, making it difficult to confirm or clarify the differing accounts of its creation. Some have sought to apply the methods of higher criticism to the oral histories of Wing Chun and other Chinese martial arts.[4] Others have attempted to discern the origins of Wing Chun by determining the specific purpose of its techniques. Mentions of the art start to appear in independent third-party documentation during the era of the Wing Chun master Leung Jan, making its subsequent history and divergence into various branches more amenable to documentary verification. The common legend involves the young woman Yim Wing Chun (Wing Chun literally means beautiful springtime or everlasting spring). After she rebuffs the local warlord's marriage offer, he says he'll rescind his proposal if she can beat him in a fight. She asks a local Buddhist nun, Ng Mui, to teach her boxing, and the style they develop enables Yim Wing Chun to defeat the warlord. She thereafter marries her sweetheart and teaches him the style, which he names after her. It should be noted that the system was developed during the Shaolin and Ming resistance movement against the Qing Dynasty, and thus many legends about the creator of Wing Chun were spread to confuse the enemy, including the story of Yim Wing Chun. This perhaps explains why no one has been able to accurately determine the creator or creators of Wing Chun Tenets of Wing Chun include practicality, efficiency and economy of movement. Practitioners are sometimes encouraged to sense the energy behind their movements. The core philosophy becomes a useful guide to practitioners when modifying or refining the art. Practicality Wing Chun techniques emphasize practicality and efficiency to maintain its ideals on effectiveness. Strikes are intended to injure or disrupt the target. Efficiency in Wing Chun is based on the concept that the shortest distance between two points is a straight line. Likewise its primary targets all lie along the "centerline" of one's opponent. Efficiency Wing Chun believes in using the least amount of required force in any fighting situation. It believes properly timed positioning and movements can and should be used to defeat an opponent. This is achieved through balance, body structure and relaxation. The Chinese saying "4 taels to move 1000 catties" (referring to an old Chinese measurement system) is appropriate here in describing how a small amount of force, correctly applied, can deflect a powerful attack. Wing Chun uses deflection and counter-attack in the same motion or will intercept the opponent to nullify an attack, rather than blocking then attacking in two separate motions. Further on interception the punch can act as a block as a consequence of the structure and the position of the arm traveling along its triangular "power-line" pathway to the opponent's "Core". This means that the opponent's attack is automatically deflected by the arm-structure of the Wing Chun practitioner as the counter-punch is delivered. The "structure" permitting this deflection to occur is controlled through the correct focus of energy from the "core" to the "elbow". If the structure is not in place, the counter-attack/interception is likely to break down losing the "forwarding" power which may result in the deflection failing and allowing the attacking punch to make its target. In addition to efficiency being understood as the "shortest distance to the opponent's core" (which relates specifically to the speed of attack/counter-attack), it is also important to understand the importance of energy efficiency within Wing Chun. A person using Wing Chun is said to be able to defeat a stronger person because they are able to use their structure effectively. Given this, it is essential in ensuring that the Wing Chun practitioner has a full understanding of structure which enables them to use the correct use of energy required - deviation from the structure results in having to use the muscles more and your Wing Chun will not as effectively counter the strength of a stronger opponent. The structure deflects the energy in the enemy’s attacks and opens for counter attacks, if used properly it will also weaken the opponents blocks resulting in strikes that hit. [edit] Economy of movement Most Wing Chun attacks take the straightest possible path to the target (usually a straight line) to break the opponent's structure. Wing Chun theory focuses on the opponent's centerline, an imaginary vertical line bisecting the opponent's vitals (throat, heart, stomach, groin). The Wing Chun punch, for example, is delivered centrally from the practitioner's chest rather than diagonally from the shoulders in the first two forms. This helps teach the centerline concept. In the later forms, the punch is delivered diagonally from the shoulder to the centerline. This is because the distance is shorter than bringing the hand from the shoulder, to the center of the chest, and then down the centerline at the opponent. Characteristics Balance, structure and stance Wing Chun practitioners believe that the person with better body structure will win. A correct Wing Chun stance is like a piece of bamboo, firm but flexible, rooted but yielding. This structure is used to either deflect external forces or redirect them into the ground. Balance is related to structure because a well-balanced body recovers quicker from stalled attacks and structure is maintained. Wing Chun trains the awareness of one's own body movement derived from muscular, tendon, and articular sources. Performing Wing Chun's forms such as Chum Kiu or the Wooden Dummy form greatly increase proprioception. Wing Chun favours a high, narrow stance with the elbows kept close to the body. Within the stance, arms are positioned across the vitals of the centerline. Shifting or turning within a stance is carried out variantly on the heels, balls, or middle (K1 or Kidney 1 point) of the foot depending on lineage. All attacks and counter-attacks are initiated from this firm, stable base. Wing Chun rarely compromises structure for more powerful attacks because this is believed to create defensive openings which may be exploited. Structure is viewed as important, not only for reasons of defense, but also for attack. When the practitioner is effectively 'rooted', or aligned so as to be braced against the ground, the force of the hit is believed to be far more devastating. Additionally, the practice of 'settling' one's opponent to brace them more effectively against the ground aids in delivering as much force as possible to them. Relaxation Softness (via relaxation) and performing techniques in a relaxed manner, is fundamental to Wing Chun. Tension reduces punching speed and power. Muscles act in pairs in opposition to each other (e.g. biceps and triceps). If the arm is tensed, maximum punching speed cannot be achieved as the biceps will be opposing the extension of the arm. In Wing Chun, the arm should be relaxed before beginning the punching motion. Unnecessary muscle tension wastes energy and causes fatigue. Tense, stiff arms are less fluid and sensitive during trapping and chi sao. A tense, stiff limb provides an easy handle for an opponent to push or pull with, whereas a relaxed limb provides an opponent less to work with. A relaxed, but focused limb, affords the ability to feel "holes" or weaknesses in the opponents structure (See Sensitivity section). With the correct forwarding these "holes" grant a path into attacking the opponent. Muscular struggle reduces a fight to who is stronger. Minimum brute strength in all movement becomes an equalizer in uneven strength confrontations. This is very much in the spirit of the tale of Ng Mui. Centerline While the existence of a "central axis" concept is unified in Wing Chun, the interpretation of the centerline concept itself is not. Many variations exist, with some lineages defining anywhere from a single "centerline" to multiple lines of interaction and definition. The most commonly seen interpretation emphasizes attack and defense along an imaginary vertical line drawn from the center of the practitioner's chest to the center of the enemy's chest. The human body's prime striking targets are considered to be on or near this line, including eyes, nose, throat, solar plexus and groin. Wing Chun techniques are generally "closed", with the limbs drawn in to protect the central area and also to maintain balance. In most circumstances, the hands do not move beyond the vertical circle that is described by swinging the arms in front, with the hands crossed at the wrists. To reach outside this area, footwork is used. A large emphasis and time investment in training Chi Sao exercise emphasises positioning to dominate this centerline. The stance and guard all point at or through the center to concentrate physical and mental intent of the entire body to the one target. Wing Chun practitioners attack within this central area to transmit force more effectively, since it targets the "core center" (or "mother line", another center defined in some lineages and referring to the vertical axis of the human body where the center of gravity lies). For example, striking an opponent's shoulder will twist the body, dispelling some of the force and weakening the strike. Striking closer to the center transmits more force directly into the body. Punches Because of the emphasis on the center line, the vertical fist straight punch is the most common strike in Wing Chun. However, the principle of simultaneous attack and defence suggests that all movements in the Siu Nim Tau with a forward execution flow into a strike if no effective resistance is met, without need for recomposure. Other explicit examples of punches can be found in the Chum Kiu and Bil Jee forms, articulating an uppercut and hook punch respectively. The vertical punch is the most basic and fundamental in Wing Chun and is usually thrown with the elbow down and in front of the body. Depending on the lineage, the fist is held anywhere from vertical to horizontal (palm side up). The contact points also vary from the top two knuckles, to the middle two knuckles, to the bottom three knuckles. In some lineages of Wing Chun, the fist is swivelled at the wrist on point of impact so that the bottom three knuckles are thrust forward adding power to the punch while it is at maximum extension. The punches may be thrown in quick succession in a 'straight blast' or 'chain punching'. When executed correctly, it can be used as a disorienting finisher but is often criticised for encouraging weaker punches that don't utilise the whole body. Wing Chun favours the vertical punch for several reasons: Directness. The punch is not "loaded" by pulling the elbow behind the body. The punch travels straight towards the target from the guard position (hands are held in front of the chest). Protection. The elbow is kept low to cover the front midsection of the body. It is more difficult for an opponent to execute an elbow lock/break when the elbow occupies this position. This aids in generating power by use of the entire body structure rather than only the arm to strike. Also with the elbow down, it offers less opening for the body to be attacked while the forearm and punch intercept space towards the head and upper body. Strength and Impact. Wing Chun practitioners believe that because the elbow is behind the fist during the strike, it is thereby supported by the strength of the entire body rather than just a swinging fist, and therefore has more impact. A common analogy is a baseball bat being swung at someone's head (a round-house punch), as opposed to the butt end of the bat being thrust forward into the opponent's face (wing chun punch), which would cause far more damage than a glancing hit and isn't as easy to evade. Many skilled practitioners pride themselves on being able to generate "short power" or large amount of power in a short space. A common demonstration of this is the "one-inch punch," a punch that starts only an inch away from the target yet delivers an explosive amount of force. Alignment & Structure. Because of Wing Chun's usage of stance, the vertical punch is thus more suitable. The limb directly in front of the chest, elbow down, vertical nature of the punch allows a practitioner to absorb the rebound of the punch by directing it through the elbows and into the stance. This is a desirable trait to a Wing Chun practitioner, where in contrast the rebound of a horizontal, elbow-out punch promotes torque in the puncher's body. This is because the limb and elbow are now directing rebound force outwards instead of inwards due to the positioning of the hinge-structured elbow. This aids in generating power by promoting use of the entire body structure rather than only the arm to strike. Kicks Kicks can be explicitly found in the Chum Kiu and Mook Jong forms, though some have made interpretations of small leg movements in the Siu Nim Tau and Bil Jee to contain information on kicking as well. Depending on lineage, a beginner is often introduced to basic kicking before learning the appropriate form. Traditionally, kicks are kept below the waist.This is characteristic of southern martial arts, in contrast to northern systems which utilise many high kicks. Variations on a front kick are performed striking with the heel. The body may be square and the knee and foot are vertical on contact (Chum Kiu), or a pivot may be involved with the foot and knee on a plane at an angle (Mook Jong). At short distances this can become a knee. A roundhouse kick is performed striking with the shin in a similar manner to the Muay Thai version with most of the power coming from the body pivot. This kick is usually used as a finisher at closer range, targeting anywhere between the ribs and the back of the knee, this kick can also become a knee at close range. Other kicks include a stamping kick (Mook Jong) for very close range and a sweep performed with the heel in a circular fashion (Bil Jee). Every kick is both an attack and defence, with legs being used to check incoming kicks or to take the initiative in striking through before a more circular kick can land. Kicks are delivered in one movement directly from the stance without chambering/cocking. 绝对首创，抄袭死

街舞的种类：主要分，BREAKING霹雳舞 hiphop lockin锁舞 popin机械舞,还有其他的许多舞种.例如HOUSE等等....不同的舞种有不同的风格跳BREAKING的舞者男孩一般叫B-BOY,女孩叫B-GIRL.其他的舞种的可以统称为DANCER..具体的还可以叫,,比如,跳LOCKIN的叫LOCKER跳POPIN的叫POPERBREANKING是那种注重技巧和爆发力的舞种,适合男孩子跳其他的舞种男女皆仪,,每个舞种都还有不同的风格....很复杂滴下面是BREAKING的专用名词介绍记号（*）将标示出动作的困难度。五个（*）是最高难度的，一个（*）则是最简单的。B-BOYBreaking Boy， Boogie Boy，只要是跳Breaking的都叫B-Boy。CREWB-Boy的团体。BATTLE个人或B-Boy团体间的挑战（俗称尬舞）。BURNED专门用来指称在尬舞时被打败的团体或个人。ROUTINES由几个舞者一起连结或执行舞蹈动作。PERFECTIONS指的是一个B-Boy最好的动作。WACKED或WACK当一个人做错了动作。SLIDES拉着自己滑过地板。Slide这个名字就告诉B-Boy该做"滑"的动作。BITE从别人那里偷学动作。1990（***）B-Boy倒立且旋转，然后随着身体重量的移转由一只手换到另一只手做动作，做到脚着地为止。（俗称手转）2000（/forum/index.asp*）用一只手倒立，尽可能的旋转直到脚着地为止.（又称倒立手转）。AIRPLANES（/forum/index.asp）风车加上双手向两旁尽量伸展高到你可以以抓住它们。AIRSWIPES（*）开始时，双手双脚都放在地上，脸朝上。一只手支撑住身体的重量脚往上踢然后旋转，在脚着地前另一只手先着地。如果做的正确的话应该整个身体都能旋转到。APPLEJACKS（**）一个最基本的动作向其它B-Boy挑战尬舞。双脚蹲下，背向后仰双手支撑，然后一只脚向空中踢，踢的越高越好。然后双脚向后跳跃，重复。TOW-LEGGED APPLEJACKS和Applejacks一样，不同的是并非踢一只脚，而是踢两只脚。BACKSPIN（***）利用背部作旋转的表演。所有的重量平衡在背的上半部，脚缩起来尽量靠近身体。旋转的要诀就是双脚在空中做圆形的划动。（俗称背旋）BACKSWIPE（***）和Airswipe是相同的，但是除了当你的脚在一半的时候加进来，你改变方向回到开始时的动作。BARRELS（/forum/index.asp）风车，双手环抱在前。BELLYMILL（/forum/index.asp）就像风车一样，不同的是他不是用手或用头去转，而是用胃（肚皮）。BHUDDA（/forum/index.asp）和UFO类似，除了膝盖是在伸直的双手中，然后双脚是离开地面的。BOOMERANG（/forum/index.asp*）开始时坐在地上，双脚在身前形成V字形。然后手撑在双脚间，接下来撑起身体，只有手能碰地。然后转圈。BRONCO（**）先从脚开始，然后是只有一只手向下，脚往后踢然后脚又再次放下，重复所有的动作。BUNNYHOP（/forum/index.asp*）类似像Flare，不同的是双脚在身前伸直向上，然后转圈上下跳动。CANNOABALL（/forum/index.asp）在Cannonball的动作中双手环抱着膝盖。CRAZYLEGS（/forum/index.asp）就像Airswipes，但不只做一个。作Airswipes一次又一次且动作中间不停顿。CRICKETS（/forum/index.asp）一个几乎和Handglide相同的旋转动作，除了当旋转的手离开地面旋转又重回地面时，会有偶而重量转变成为推挤手。如果做的好，看起来就像是连续的旋转动作。DOUBLE99（/forum/index.asp*）就像作一个2000（Onehand99），但是当你要放下一只手换成另一只手时，踢脚以得到速度然后续作2000（Onehand99）的动作，每一只手持续的作不停下来。DOWNROCK（*）用手的中心支撑着整个舞者的重量然后腿和脚持续的作有节奏的圆形的舞动，腿和脚的动作又是绕着手的动作做。通常会结合Freezes和Hesitations动作，并且是在其它动作之后紧接着做。ELBOWGLIDE（/forum/index.asp）动作和位置类似像手转，不一样的是用手轴转而手释放在腹部的位置。FLARE（/forum/index.asp）类似像风车，脚一样要在空中做很大的圆圈，但是不要动肩膀，而是将重量放在双手上。FISTGLIDE（/forum/index.asp）动作和位置类似像手转，不一样的是用拳头转。FLOAT（*）用手让身体做水平的平衡，但是除了脚之外，脚要弯曲以帮助平衡。GENIES（/forum/index.asp）用手作风车并且横跨过整个胸部。GODOWN当B-Boy在尬舞时，当他很有可能会输掉时所做的动作。HALO（/forum/index.asp*）风车的动作，但是却不是由肩膀转到肩膀而是用头去转。（俗称刷头风车）HANDGLIDE（/forum/index.asp）和Bboy在做Float的动作相似，不同的是只有一只手支撑身体，另一只手帮忙去推着旋转。（我们称为"直升机"）HEADSLIDE（**）当一个Headslide动作完成后反转，用头停住。HEADSPIN（/forum/index.asp）用你的头转。要用手和脚去开始旋转。（就是头转）HELICOPTER（*）一只脚在身体下另一只脚向外伸展，另一支伸展的脚则是做Horozontalplane画圆动作时仍然持续伸直，然后越过另一只脚底下在绕道前面去。Hesititations（FREEZE）（**）停止或暂停，在做Downrock圆圈动作时。KIP-UP（**）背部平躺撑起，脚在后面转动然后把脚踢向空中，上半身跟着起来再用脚着地。MUNCHMILLS（/forum/index.asp）类似像风车一样，不同的是脚都是交*弯曲的。KNEESPIN（***）所有的重量都平衡在碰到地板的那一只膝盖上。另一只脚则伸起在高处。旋转的要诀就是利用双手去推。速度的增加是在一连串动作做完后靠着在后面的脚拉向自己的身体以产生速度。NECKMOVE（***）只转一下的风车。NUTCRACKERS（/forum/index.asp）用手盖住胯下的部分作风车。RUBBERBAND（/forum/index.asp）Bboy作Kip-Ups的动作然后背部下降再重复做一次Kip-Up。SPIDER（***）这被认为是一个很需要弹性的动作。大腿放在背后，膝盖放在肩膀上靠近耳朵的位置，小腿在前面，重量平衡在手或是脚或是两者。SUICIDE（***）B-Boy做一个Frontflip的动作，然后背部平躺在地上，做这样的动作而没有伤到自己。SUMOS（/forum/index.asp）抓着膝盖作风车。SUPERMANS（/forum/index.asp）用胸部作风车而手伸向前。SWIRLS（***）和Handglide类似，不同的是用前臂旋转而不是手。TOMBSTONES（/forum/index.asp）双脚合拢，身体成L形。不用手。TOPROCK（*）基本的直立的舞步.可能有很多不同的影响而且每一个人做的也不一样.通常备用来作为一段舞蹈开市的前导，或是Downrocking舞蹈中一组舞蹈和一组舞蹈中间的衔接，或是在激烈的舞蹈动作之后给自己一个休息的时间。TURTLE（/forum/index.asp）Float的动作中身体整个做完整的旋转演出。旋转动作的完成是靠着重量从一只手臂转换至另一只手臂，然后手做圆形的动作而不运用身体的力量，另一只手再做同样的动作。TWOLEGGEDAPPLEJACKS（***）和Applejacks一样，不同的是并非踢一只脚，而是踢两只脚。UFO（/forum/index.asp）和Turtle相似的旋转动作，不同的是身体是直立的，蹲下，双手伸直，膝盖在手外面，脚不着地。UPROCK（/forum/index.asp）Uprock是一种舞蹈的战斗，舞者之间非常靠近但却不触碰到，很像功夫的战斗，但是有更多持续的动作和律动。（俗称战斗舞）WINDMILL（/forum/index.asp）B-Boy从一个肩膀转向另一个肩膀，双脚持续的在空中旋转。WORM（***）B-Boy用腹部躺着，做波浪形的动作从前到后，看起来就像一只虫在蠕动。（台湾有人称为"蟒蛇"）COPOEIRA流畅的舞蹈动作做的相当贴近地面，动作随着上升的旋律来做，或是击败对手的攻击。RUBBER BANDB-Boy作Kip-Ups的动作然后背部下降再重覆做一次Kip-Up Poppin动作名词介绍 ☆ThePopPop就是一种你震动身体不同部位的动作，这是要靠你震动你的肌肉来达成的。这是非常需要韵律感的，而且需要配合popping风格的音乐，你可以靠着伸直你的手轴来做popping，你也可以将肩膀隆起来做popping，而身体的其它部位都保持直立。☆TheTick ☆TheTick 这个动作常被用来作为机器人舞的舞蹈中，是ElectricBoogie中很重要的一个部分，这个动作给人一种错觉，就好象这个人天生就像机器一般，停下来或开始动作的时候都会有一个震动，做这个动作就是要靠震动肌肉，法国的喜剧演员叫这种动作是“Clique”。 ☆TheFloatsorGlides Float或是Glide给人种错觉，好象你的脚再走路时有一种特定的程序，这个动作给人一种感觉好象你想往东走，但实际上你的脚却是往西走一样，最著名的舞步就是MichaelJackson跳的“MoonWalk”，这是一个老的喜剧演员的把戏，就像明明要往前走却又往后退。 ☆TheSlowMo 这个舞蹈动作做起来就像是你在电视上看到的慢动作回放一样，通常舞者会把这个动作和MOONWALK一起做。 ☆TheWave 这是从四肢开始的波浪的动作。他给人一种错觉就像是有一股看不见的力量穿过你的整个身体，从一个地方开始，穿过手掌，手臂，整个身体最后停在你的脚。波浪的动作是一个标准的动作，包含在每一个舞蹈的例行动作中。不像其它的舞蹈动作，这个动作是流畅连贯的动作，应该是有精神的或是充满律动感的。波浪的动作的确从Pop中截取了不少的风格，但是你和Pop做一个比较，做Pop时如果有一个路径环绕全身，做起来会更加顺畅。 ☆TheMannequinorRobot(Robotics) 这是一个以经存在很久的机械舞蹈风格，他就像是模仿一个展示用的假人在现实生活中动了起来，然后从Mannequinstyle中又分离出两个动作。一个动作是是舞者就像是被县牵引的傀儡一般，行动不自由，无法自主，人被其它人所牵引着，你可能曾在电视上看过喜剧演员做这样的表演，最经典的动作就是同手同脚向前移动，再表演中这笔不同手不同脚一起移动常被使用。另一个风格就是机器人，这个动作就是你的四肢做动作时被一个固定的速度所控制，然后突然停住或是用Tick停住，就像是只有机器才会做的动作。通常在一个时间里，你只移动身体的一个部分，做的就好象是你被一个计算机程序所控制住一样，动作要做的很制式化。Mannequin:这个字指的是展示用的假人模特儿。 ☆TheKingTut(埃及皇) 这个动作就好象是挂在墙上埃及的壁画及宫殿般的感觉，它包含了摆手部的动作，肩膀和手轴成90度，你的前臂可能是上或下，弯曲或扭转，可能远离你或靠近你，然后你的手可能要循环的上下或是循环的扭转，这要和Tick一起做，就像机器人舞蹈的风格一样，每一个动作是分开的。 ☆TheLean 这又是另一个相当受欢迎的喜剧演员的花招，他给人一种错觉好象人倚靠着某一样东西，可是这样东西实际上却又不存在，就像看不见的钢琴就是一个例子。 ☆TheCollapse 通常和Mannequin结合一起做，这个动作做起来就像是一个轮胎被泄了气一样，或者是像一个被剪断了线的傀儡。 ☆TheHeartbeat 这是一个很受欢迎的动作，你把手放在外套或T恤底下，然后把衣服往前推，这样看起来就像是你的心脏正在胸腔里跳动一样，通常舞者会一边做动作一向前走，这会给人一种错觉好象是你的心跳推着人前进一样。 ☆TheBicycle 腿部的动作给人一种印象像是你在骑脚踏车一样，这是另一个喜剧演员常用的小花招，这个动作通常会结合手的往前放的动作，这给人的感觉像是你整抓着脚踏车的手把。 ☆TheToe/Heelwalk 这个动作通常和Mannequindancestyle一起做，是一个很棒的方法可以让你在整个舞蹈地板上做动作，他的动作包含了:用一只脚的脚指做旋转，再配合另一只脚的脚踝一起，然后在将重量移转到另外的脚指及脚踝上，然后一直做，做的好的话，动作会非常流畅，看起来就像是你滑过整个地板一样。 ☆Cobra(KingCobra) 舞者用一只手做波浪的动作传到另一只手去，然后再把他送回来，但是只用到肩膀。(如果你看名叫“Breakin”的电影，在一开始的尬舞中，就有几个人做这个动作，你可不能错过.) BodyEffects就是用身体去做模仿的效果。 ☆Animation 用身体去做像影片般，一格一格的分格动作。 ☆ThreeDimensionalTickin’ 比depthtickin’更多元化，包括了在同一个tick中，身体做常、宽、高三D般的效果。 ☆Pausin’ 停止或暂时停顿一个动作短暂的时间。 ☆ElectricShock 这个动作看起来就像是有一股电流通过身体一般。 ☆WaterWave 缓慢做波浪的动作并摇动身体，创造像水波般的效果。 ☆InternalMoves 动作就像是渗透进身体或是像从身体中发出的一般。和tickin’、wavin’不一样，因为这两者是穿过身体。 ☆ExternalMoves 动作就像是从身体外部来的感觉一样。Cobra，Octopuss，Kingtut，Python等这些动作都是。 ☆Hittin’ 持续的收缩肌肉。基本上是放松和收缩颈部、手部、胸部和腿部的肌肉。 ☆Hittin’Style Hittin’风格的舞蹈包括有:Boogaloo，Boogie，Poplock，Strutin，Puppet，Robotic，freestyle，bopping等这些都是。 ☆Glides/Floats 这个动作就像是舞者在空中走路一样。Moonwalk，Backslide，Sideslide，Swalk等这些都是。 这个不一定全面.还有这个poppin' style 常用语解析Air posing 空气中的动作Animation 动画 一种大风格 不像人的动作 都可以叫 animationBopping 一个叫boppin 的人创立的风格 我理解为动感机器人Crazy Legs 疯狂的脚 Poppin Pete在 80年代创立的风格Cobra 眼镜蛇Dime Stopping 停 不同与 pop 与hit robot用的比较多 Floating/Gliding 漂浮 滑行Hittin 一个效果 不同与pop 但又类似与 popPuppet 木偶人Saccin 行走的风格Scarecrow 稻草人Snaking 蛇Spiderman 蜘蛛人 poppin pete 在90年代创造的风格Strobing 频闪 像 相机 快照那样Strutting 一格 一格 的动作 像DVD快进 那种Tuttin (埃及手Shadow Boxing skeet rabbit的 style 个人觉得有点傻Egyptians Boogaloo 基础动作Sam 创造的Master Flex Boogaloo 基础动作Sam 创造的E.T. 外星人的效果 poppin pete在90年代创立的 主要用膝盖Speed Control 速度的控制Sleepy Style 要睡着的style Poppin Pete在 90年代创立的 我问pete这个动作的时候他说自己这个动作 非常傻 哈哈 pete 自己不是很喜欢这个动作Ground Moves 地板的动作Poppin 肌肉震动Boogaloo 每个人有每个人的理解 说法很多WavinLeg Rolls 腿的rollRobot 机器人Tickin 连续的pop 是一种styleToy Man 玩具人Walkouts Boogaloo的基础 sam创立的 强调 boogaloo 的立体感Fresno Boogaloo 基础动作Sam 创造的 强调方向和律动power wave new style用的多一些 力量的waveIsolation Poppin style 必须具备的 的局部控制Centipede 在地下 像蜈蚣一样在走Hitting 一种效果 不同与popShadow Boxing skeet 的 style 个人觉得有点傻Master Flex Boogaloo 基础动作Sam 创造的 这里master是僵尸的意思Slow Move 慢动作Pop Control pop 控制Big Pop 大 popRoll 关节旋转Air posing 空气中的动作Animation 动画 一种大风格 不像人的动作 都可以叫 animationBopping 一个叫boppin 的人创立的风格 我理解为动感机器人Crazy Legs 疯狂的脚 Poppin Pete在 80年代创立的风格Cobra 眼镜蛇Dime Stopping 停 不同与 pop 与hit robot用的比较多 Floating/Gliding 漂浮 滑行Hittin 一个效果 不同与pop 但又类似与 popPuppet 木偶人Saccin 行走的风格Scarecrow 稻草人Snaking 蛇Spiderman 蜘蛛人 poppin pete 在90年代创造的风格Strobing 频闪 像 相机 快照那样Strutting 一格 一格 的动作 像DVD快进 那种Tuttin (埃及手Shadow Boxing skeet rabbit的 style 个人觉得有点傻Egyptians Boogaloo 基础动作Sam 创造的Master Flex Boogaloo 基础动作Sam 创造的E.T. 外星人的效果 poppin pete在90年代创立的 主要用膝盖Speed Control 速度的控制Sleepy Style 要睡着的style Poppin Pete在 90年代创立的 我问pete这个动作的时候他说自己这个动作 非常傻 哈哈 pete 自己不是很喜欢这个动作Ground Moves 地板的动作Poppin 肌肉震动Boogaloo 每个人有每个人的理解 说法很多WavinLeg Rolls 腿的rollRobot 机器人Tickin 连续的pop 是一种styleToy Man 玩具人Walkouts Boogaloo的基础 sam创立的 强调 boogaloo 的立体感Fresno Boogaloo 基础动作Sam 创造的 强调方向和律动power wave new style用的多一些 力量的waveIsolation Poppin style 必须具备的 的局部控制Centipede 在地下 像蜈蚣一样在走Hitting 一种效果 不同与popShadow Boxing skeet 的 style 个人觉得有点傻Master Flex Boogaloo 基础动作Sam 创造的 这里master是僵尸的意思Slow Move 慢动作Pop Control pop 控制Big Pop 大 popRoll 关节旋转HOUSEWhat'S House?HOUSE是於八十年代沿自 DISCO发展出来的跳舞音乐。 这是芝加哥的DJ玩出的音乐， 他们将德国电子乐团Kraftwerk的一张唱片和电子鼓(Drum Machine)规律的节奏 及黑人蓝调歌声混音在一,House就产生啦~ 一般翻译为"浩室"舞曲,为电子舞曲最基本的型式,4/4拍的节奏, 一拍一个鼓声,配上简单的旋律,常有高亢的女声歌唱. DISCO流行后，一些DJ将它改变，有心将DISCO变得较为不商业化， BASS和鼓变得更深沈， 很多时变成了纯音乐作品，即使有歌唱部分也多数是由跳舞女歌手唱的简短句子，往往没有明确歌词。 渐渐的，有人加入了LATIN(拉丁、 REGGAE(瑞格源在西印度群岛、 RAP(说唱或 JAZZ(爵士等元素， 至八十年代后期， HOUSE冲出地下范围，成为芝加哥、纽约及伦敦流行榜的宠儿。 为什么会叫"House"呢?就是说只要你有简单的录音设备,在家里都做得出这种音乐~House也是电子乐中 最容易被大家所接受的. Cher唱的Believe 就是个好例子.而M-People可说是House代表团体.House舞曲在1986年开始流行后,可说是取代了Disco音乐. House可分为： Acid House 也就是融合了TB-303的Acid声的House乐 Deep House 有着相当浓厚的灵魂唱腔,又叫作Garage,蛮流行化的. 像Real Mecoy, M-People, La Bouche都Garage团体. Hard House 简单来说,就是节奏较重,较猛的House. Progressive House 这类House没啥灵魂唱腔,反而比较注重旋律和乐曲编排.有一 点像"演奏类"的House乐. 像SASH!的专辑It's My Life便是很好的Progressive House专辑. Epic House 就是"史诗"House. Epic House有着优美,流畅的旋律和磅礴的气势, 很少会有vocal在里面(几乎是没有!). BT的音乐就是很棒的Epic House,而他也被称作"Epic House天皇". 其实连Rock也有"Epic Rock" Trible House 想像一下:带有非洲原始风貌或是印地安人的鼓奏的House是啥样? 这就是Trible House~ 这种House除了有一般House稳定的节奏外,在每拍之间,会加入一些带有原始风貌,零碎的鼓点. 蛮有趣的~ 不过,House的范围太广了,大家也不用硬要把一首曲子分类.这些只是告诉大家,House很多种"而已。 到了九十年代， HOUSE已减少了那前卫、潮流色彩，但仍是很受欢迎的音乐。啊仰对关于HOUSE的认识HOUSE是来自于同名的音乐（HOUSE），HOUSE虽然与HIPHOP同属FREE STYLE,但当你随着HOUSE MUSIC舞动时会却比听HIPHOP时更加FREE STYLE!!而一般HOUSE舞蹈给人们的误解是'只是种由一些STEP组合起来的舞蹈STYLE..',而没有身体的律动...HOUSE的音乐来自于芝加哥～～音乐传到了洛杉矶和纽约（但时间上有些许差异．．），在当时CALEF（最早跳HOUSE的那堆人之一）听到了音乐里面有这样的一句歌词'JACKIN..JACKIN....JACKIN...'就自然地跟着音乐做了一个叫JACKIN的动作!!随后在HOUSE CLASS里JACKIN就成为了最重要的BASIC了。而当时在NY跳HOUSE比较好的一堆 HOUSE DANCER，他们的团体叫DANCE FUSION（现在在已经是世界最强的HOUSE团体!!）。当芝加哥的HOUSE DANCER们来到看见这堆人之后，送了他们每人一件紫色的衫．．．上面写着'HOUSE DANCE MASTER'!!而有这件衫的人只有现在比较元老级的人有．．．由于越来越多不同风格的舞者在CULB听着HOUSE跳舞，结果就沿伸出不同的STYLE的HOUSE舞者～～日本大概在90年代初开始流行HOUSE舞蹈（音乐是很早就有了，只是舞蹈晚了很多...）。日本最强的HOUSE团体有ALMA，其中成员有KOJI,HIRO(我的老师之一,PINO,HYROSSI。还有同时兼修house和bebop的著名团队SOUND CREAM STEPERZ（成员YUKI,GOTO,HORIE）。法国的代表有O TRIPE HOUSE。台湾就有由BALA组成的Improvisation 。而香港有那英NA YING(他是BRIAN GREEN学生!HOUSE很强哦~),TOE(现在在广州ALL STEPS!),MING(在广州ALL STEPS!是日本KOJI,HIRO,YUKI的学生。美国则有更多宗师级的house dancer。比如BRIAN GREEN（他技术超强但却不是DANCE FUSION的团员），SHAN’S（也是我的恩师），E JOE，CALEF，以及后来加入的TERRY WRIGHT，BOBBY等等．．．． __________________HI PHOP="尊重"有"尊重"就会有"PEACE"(和平有"PEACE"世界就会有"LOVE"!在音乐面前所有舞者都是平等的.... --All-City在地下铁的墙壁和停车场等场所，写上自己的名字。B-boy霹雳舞者之意。Back-Spin背旋，用手抱住身体，以背部著地来旋转。Bite模仿别人跳舞的姿势。Box or Blaster手提收音机、收录音机之意。Chill好帅之意，That's chill样子帅，Chillin' Out潇洒。Det(death)死的简语，即OK，高竿之意。Dis(disrespect)无礼的简语。Dog破坏之意，打扰对方。Electric Boogie电动布基舞。像机器人和木偶的舞蹈动作。Freeze完成姿势，本来是侮辱对方之意。现指跳到最后所决定的姿势，可表现出舞者的个性。Fresh因赞赏而得意洋洋的表现。That's Fresh是称赞对方之意。Gear为了表演所穿的衣服。Grew同好，夥伴。例如舞群。Graf(Graffiti)信笔乱画。Handglide要旋转时，以单手支撑身体，霹雳舞的特技舞之一。1990用单手倒立而旋转的舞步。Helicopter直升机，以一人为轴心，其他两人像螺旋翼般在空中飞转的三人舞蹈。Head spin霹雳舞的特技舞之一，以头著地来旋转。High rise非常难的舞技，从风车移到头旋。Hip Hop能配合霹雳舞，包装舞的芳奇音乐总称。Home boy朋友之意，也称做homey。Juice权力、金钱、影响。Kicks另有破坏之意，和Dogs同。King Tut电动布基舞之一，跳法和埃及舞相同。Moon Walk月舞。原本是木偶的舞步，看起来像是往前面动，但却是向后走的舞步，因麦克‧杰克逊而闻名。Popping和音乐无关，手脚啪啦啪啦的摆动之意。Puppet电动布基舞之一，由两人表演的默剧舞蹈动作。一个人扮傀儡，另一人用看不到的丝线来操纵傀儡。Walls爬墙。采自默剧的舞技之一，舞者要爬著实际上不存在的墙壁的动作。Wave电动布基舞之一，身体像海浪般波动。Wind mill风车，比背旋还要难的霹雳舞步之一。两脚张开而旋转，并使身体像漂浮著似的。Worm把身体卷成一团，像虫子似的在地上打滚。这个动作可由一个人到两个人或三个人来做。

为了给后来人造福，本人特别整理如下. 欢迎补充，其他品牌的车型和英文名字。