dance to

dance to (something)

To dance while listening to something in particular (such as a song or a beat). We can't slow dance to this song, it's too fast. Oh, I can dance to a catchy tune like that!
See also: dance, to
Farlex Dictionary of Idioms. © 2015 Farlex, Inc, all rights reserved.

dance to something

to respond to music or rhythm with dancing. I can't dance to that fast beat! That music is horrible. No one can dance to that.
See also: dance, to
McGraw-Hill Dictionary of American Idioms and Phrasal Verbs. © 2002 by The McGraw-Hill Companies, Inc.
See also:
References in classic literature ?
When she wanted to dance to the right, the shoes would dance to the left, and when she wanted to dance up the room, the shoes danced back again, down the steps, into the street, and out of the city gate.
Then he wanted the dance to end that he might get rid of his partner.
`Thank you, it's a very interesting dance to watch,' said Alice, feeling very glad that it was over at last: `and I do so like that curious song about the whiting!'
Anything, so long as we can dance to it!" From all sides her gift for playing the piano was insisted upon, and she had to consent.
From Mozart Rachel passed without stopping to old English hunting songs, carols, and hymn tunes, for, as she had observed, any good tune, with a little management, became a tune one could dance to. By degrees every person in the room was tripping and turning in pairs or alone.
Hinman taught a combination of ball room and folk dance to both sexes at Chicago's Hull House as early as 1897, and ten years later, the Principal at P.S 15 in Manhattan crowed that some sixty "healthy, happy" fifth-grade girls in the Burchenal Athletic Club regularly performed fifteen Northern European dances, from the Irish Jig to the Hungarian Csardas, Swedish Frykdalspolkska, Russian Comarinskaia and a Minuet.
Above all, always focus on relaxing into the stillness of the central axis while allowing the rest of the dance to flow around it in a natural response to the music with which you are moving.
"Women got tired of standing back," says Native American dance educator and elder Louis Mofsie (Hopi/Winnebago), "so they developed this dance to say 'Look, we can dance as well as the men, maybe even a little better.'" Eager to share the arena with these newly assertive dancers, he continues, "As long as she has that shawl, a woman is considered properly dressed for any of the festivities."
They are asked to change their dancing, often with little practice, because after all, they should be able to dance to any music, any tempo, with any partner, and still be graceful.
Tomko's study shows how much we have to discover about the centrality of dance to our history, our culture, and our national identity.
This season, he's been commissioned by NYU/Tisch Dance to create a new dance; with a space grant from Joyce SoHo he'll be making new work for his own troupe; and on April 29 and 30, he'll present some of it at the new Leonard Nimoy Thalia Theater at Symphony Space in New York.
The city's ongoing offerings range from African, Middle Eastern, and Spanish dance to Native American, Ukrainian, Chinese, and Korean dance to American tap, contact improvisation, hip-hop, and jazz dance.
Although, the innovative Dancing on Dangerous Ground, which put Irish dance to the new service of narrative, closed prematurely in New York (with enthusiastic reviews from the likes of Anna Kisselgoff and Tobbi Tobias), never to reopen.
The Reinharts traveled the globe in their search for new dance to share with American audiences.
The thirty-two-page softbound book provides the first age and developmentally appropriate guidelines for teaching dance to children 2 to 5 years old.