At Music on the Strand’s DJ ENTERTAINMENT, we’re dedicated to the development of effective party-making skills. As conscientious disc jockeys, much of our work is finding ways to pack the dance floor with people “gettin’ down,” showin’ off their party moves and cheering each other on. As the beats of one favorite dance song meld into those of another, we’re constantly looking for methods to fan the flames of the party.
Our aim is to sustain the excitement on the dance floor as folks respond to the music they love. They feed on the excitement in the music and we feed on their receptivity as we orchestrate interactive DANCE FLOOR PARTY ROUTINES that are designed to feed the fun.
Snowball Dance (to any appropriate, longer, slow song -or- whatever suits the party) – Starting with one couple dancing, (consisting of the Bar or Bat Mitzvah boy or girl and an adult partner during a Bar/Bat Mitzvah), whenever “Snowball” is called, those dancing go out amongst those in attendance not yet dancing and select someone to quickly bring back to the dance floor. Thus starting with 2 then making 4 then making 8 then 16, 32, etc. on the dance floor until there’s no longer enough in attendance to double the dance floor population, at which time everyone is invited who hasn’t been selected. The next command given is simply to change partners. A great way to pack the floor and provide grounds for lots of participation.
Anniversary Dance (to “Remember When” by Alan Jackson) – An activity solely for the adults in attendance good while the kids are involved in an activity like “make your own sundae”: All married folks are invited to the dance floor with their partner. All start dancing and continue until they are instructed to leave because they haven’t yet been married for so and so many years. The number of years proceeds from 1 on up as far as possible e.g. “If you’ve been married for less than 20 years, please step off the dance floor.” (At a wedding, the bride and groom can stay on the floor for the duration and then dance with the couple who have been married the longest.)
Party Circle (to an array of music with an “up” feel and an easy, danceable tempo) – A circle of dancers with the focus on the individual(s) showing their “stuff” in the middle, gives everybody an opportunity to feel like a star and be appreciated, for as long as they’re comfortable in the spotlight (or until it’s someone else’s turn).
Face Off (to a more “funky-sounding” array of music with an “up” feel and an easy, danceable tempo) – Two columns of dancers face each other, guys facing gals. Dance partners dance down the middle between the two columns. In that there’s often an uneven number of guys facing gals, dancers often get matched with someone different when it’s their turn, which adds to the excitement and variety.
The Stroll (to “The Stroll” by the Diamonds) – A 50’s version of the Face Off with a more relaxed tempo, featuring easy to learn characteristic dance steps is a “must” at a Sock Hop or “Golden Oldies Spectacular” theme party.
Human Arch (to an array of music with an “up” feel and a easy, danceable tempo) – The first couple joins hands and forms an arch. The second couple dances under the arch and then adds their hands making the arch a little bigger. The third couple dances under the arch and then joins their hands together, and so the arch grows with each new couple becoming a part of the arch after they’ve danced under its length. When the last couple has joined the arch, the first couple gets to dance under everybody’s joined hands. This process continues until each couple gets to dance through this human tunnel, which when long enough, can wind its way back and forth several times over the dance floor.
Electric Slide (to “Electric Boogie” by Marcia Griffiths, “Pink Cadillac” by Aretha Franklin, “Candy” by Cameo, “Mustang Sally” by Wilson Pickett, “Got To Give It Up” by Marvin Gaye, etc.) – This is STILL the line dancing mainstay with endless variations.
Cha Cha Slide (to “The Cha Cha Slide Part 2” by Casper) – Line dancing at a faster tempo for young and old, this slide provides a lot of opportunities to “express oneself,” and is fun to mix in and out of and teach without missing a beat.
Chang Wang (to “Can’t Wang With It” by Khia) – Made up of four fun and easy 4 beat moves that fit really well with Khia’s song, the Chang Wang can be beat-mixed effectively from the “Electric Slide.”
Cupid Shuffle (to “Cupid Shuffle” by Cupid) – One of the “newer” Hip Hop line dances, lots of fun and easy to learn made up of three 8-beat phrases and two four beat phrases, lending itself to creativity and expression.
Charleston Shuffle (to “Plastic Dreams” by Jaydee) – Often referred to as the “New Electric Slide,” the Charleston Shuffle is a line dance that is fun to learn and especially captivating to watch.
Cha Cha Call (to “Back It Up and Jump” by Alexander and “Booty Call” by Blackstreet) Also referred to as “Mississippi Slide” and “Booty Call”, a funky line dance which is easy to learn by listening to the lyrics is another group dance that can be effectively sandwiched between familiar dance numbers.
John Travolta Dance (to “Ladies Night” by Kool & the Gang, “Night Fever” by the Bee Gees) – Taken from the movie “Saturday Night Fever,” this line dance creates a spectacle, featuring a variety of the classic John Travolta disco moves, transforming those on the dance floor into impressive floor show entertainers.
The Hustle (to “The Hustle” by Van McCoy) – What has been construed as the “original line dance,” The Hustle is a natural for the “Saturday Night Fever” theme party.
Stepper’s Game (To “Step In the Name of Love” by R. Kelly) – Seven smooth moves that feel so good, can be done with partners or in a line.
Macarena (to “The Macarena” by Los Del Rios) – Eight moves that can be done standing in place and taking a quarter turn to the left, or as an uncanny conga line. The moves can be transferred to a variety of other dances.
Conga Line (to “Shake Sonora” by the Cherry Poppin’ Daddies, “Hot, Hot, Hot” by Buster Poindexter, “Conga” by Gloria Estefan, etc.) – Whether spontaneous or staged, with or without the hands on the hips of the person in front, with or without conga sleeves and maracas, in a circle or winding its way around the room, out the door, back in again and onto the dance floor, conga lines simply enliven the party.
Party Train (to “C’mon Ride It” by Quad City DJs, “Love Train” by the O’Jays, “Locomotion” by Kyle Minogue, etc.) Great for sparking the party up a notch, introduced to a packed floor, and staged with a charismatic “engineer.”
Bunny Hop (to “The Bunny Hop” by Ray Anthony) – It’s an old-fashioned follow the leader around the room dance, based on a rhythm pattern that repeats every 8 beats.
Chicken Dance (to “Chicken Dance” by Gotman Sauerkraut Band) German circle dance for young and old, roosters and hens—we do it “southern style!”
Hokey Pokey (to “Hokey Pokey” by Ray Anthony) – Inherent with this old-fashioned circle dance are some “twists” that can make it even more “hokey.” Real young (or real drunk) often enjoy this simple number.
Hora (to a wide range of traditional Horas and Medleys of different duration) – Presented as an exciting, even climactic, dance that can be led all around the room, this Jewish circle dance celebrates life.
Tarantella (to “Tarantella” from the Godfather, “Tarantella” by Chuck Mangione, etc.) – Presented as an exciting, even climactic, dance that can be led all around the room, this Italian circle dance celebrates life.
Cotton-Eyed Joe (to “Cotton-Eyed Joe” by Rednex) – Great to bring out the “Yee-Hahs!” especially when beat-mixed to a crowded dance floor from a neighboring tempo, this fast-paced number is an easily-taught country line dance.
Boot Scootin’ Boogie (“Boot Scootin’ Boogie” by Brooks & Dunn) – This classic, catchy-looking, country line dance is done to some catchy-sounding music.