Waltz. Lesson amalgamation: Double Reverse Spin, Open Telemark, Chasse from Promenade Position, 1-3 Natural Turn, Open Impetus, Weave from Promenade Position.
Not much new information. Due to the small class size we reinforced concepts similar to private lessons with a lot of one on one interaction.
Monday, October 27, 2008
Tuesday, October 21, 2008
Oct 19 Pre-Silver Lesson
Cha Cha and Waltz/Quickstep.
Cuban Break Exercise - 2 split cuban breaks, cuban break, rinse & repeat.
Do this exercise solo with no rotation facing the mirrors.
Do this exercise in partnership with the normal rotations.
Practice this A LOT.
Double Reverse Spin. A heel turn is led by performing premature rise. The basic timing is 1 2&3 for Waltz. The basic timing is SSQQ for Quickstep. Lady takes 4 steps but man only takes 2 steps. Stay left, keep the energy coming from your left elbow, and don't forget... stay left.
Cuban Break Exercise - 2 split cuban breaks, cuban break, rinse & repeat.
Do this exercise solo with no rotation facing the mirrors.
Do this exercise in partnership with the normal rotations.
Practice this A LOT.
Double Reverse Spin. A heel turn is led by performing premature rise. The basic timing is 1 2&3 for Waltz. The basic timing is SSQQ for Quickstep. Lady takes 4 steps but man only takes 2 steps. Stay left, keep the energy coming from your left elbow, and don't forget... stay left.
Oct 17 Silver Lesson
Standard Waltz and Tango.
Timing Timing Timing. Go back to your pre-bronze choreography is practice and MAKE SURE you can dance to the music. Then advance in practice to Bronze and then Silver. If you can't use the room sound system, buy an earphone splitter and dance with your partner using music from your mp3 player.
Waltz foot closures. Accomplish this by pushing INTO the floor with the standing leg of beat 2 with only slight squeezing of the upper thighs. DO NOT "pull" yourself up by squeezing your legs together and lifting your head. Lower SLOWLY on beat 3, finishing the lowering around the 'and' of beat 3.
Connect to your partner through your right side. Dance through your left side.
In your body, make closed position closed position, outside partner "closed position", and promenade promenade position.
Don't make the Silver Tango figures more than they are. The promenade fallaway is just taking promenade position and walking it forward then backwards down the floor.
Timing Timing Timing. Go back to your pre-bronze choreography is practice and MAKE SURE you can dance to the music. Then advance in practice to Bronze and then Silver. If you can't use the room sound system, buy an earphone splitter and dance with your partner using music from your mp3 player.
Waltz foot closures. Accomplish this by pushing INTO the floor with the standing leg of beat 2 with only slight squeezing of the upper thighs. DO NOT "pull" yourself up by squeezing your legs together and lifting your head. Lower SLOWLY on beat 3, finishing the lowering around the 'and' of beat 3.
Connect to your partner through your right side. Dance through your left side.
In your body, make closed position closed position, outside partner "closed position", and promenade promenade position.
Don't make the Silver Tango figures more than they are. The promenade fallaway is just taking promenade position and walking it forward then backwards down the floor.
Oct 17 Bronze Lesson
Jive is about energy. The reason it is typically danced as the last dance in a round of competition is to test your endurance. Remember to show the audience (and judges) that you have energy to spare. If that's hard for you, work on your technique. Dancing with the proper footwork, body sway, and leg action actually makes this dance easier than it looks.
Standard. Remember to create a clear distinction between Closed Position and Promenade Position. In closed position, your feet, knees, hips, and shoulders are all facing the same direction. Keep your left side turned toward your partner, keep your knees forward, and connect all the way through your right side from the bottom of the rib cage all the way down to the knee. Since the connection is through the right side, the most effective way to move your body while dancing in a partnership is by channeling the energy you provide to the partnership through your left side (all the way through your left elbow would be the most effective).
In closed position the center of the connection is between the front of the man's right hip and the front of the lady's right hip. In contrast, the connection in promenade position is between the centerline of the lady and the side of the man's right hip.
Standard. Remember to create a clear distinction between Closed Position and Promenade Position. In closed position, your feet, knees, hips, and shoulders are all facing the same direction. Keep your left side turned toward your partner, keep your knees forward, and connect all the way through your right side from the bottom of the rib cage all the way down to the knee. Since the connection is through the right side, the most effective way to move your body while dancing in a partnership is by channeling the energy you provide to the partnership through your left side (all the way through your left elbow would be the most effective).
In closed position the center of the connection is between the front of the man's right hip and the front of the lady's right hip. In contrast, the connection in promenade position is between the centerline of the lady and the side of the man's right hip.
Wednesday, October 8, 2008
Monday, September 29, 2008
Sept 28 pre-Silver lesson
Intro to Silver Cha Cha
We did a lot of review of the material from the previous week's Intro to Silver Rumba lesson since the dances are very similar.
Based on the timing of Cha Cha - 2 3 4&1 - we see that the rhythm is composed of 3 beats and 2 half beats (or syncopations). The full beats occur at 1, 2, and 3. Because these are full beats, these should be the larger steps. For the syncopations, these are half beats and should therefore be half size steps. As you are dancing, really try to emphasize beats 1 and 3.
Aida. This figure is typically danced from a Hand to Hand. Spiral Action for lady to 2 forward walks, then a forward walk turning to a back lock, flip to face the man by placing your right foot under your right side on 2, shift weight to the left foot on 3, split cuban break on 4&1, then spot turn ending. For the man, dance a hand to hand normally but lead lady so that she takes a forward lock instead of a chasse, lead lady through spiral action on 1, walk backwards on 2 and 3, flip lady through a forward walk turning on the & of 3, back lock on 4&1, flip to face the lady by placing your left foot under your left side on 2, shift weight to the right foot on 3, split cuban break on 4&1, then spot turn ending.
Just like in the Quickstep lesson last Friday, dance your back in both the Rumba and Cha Cha. This is aided by pointing your knees in the correct direction.
We did a lot of review of the material from the previous week's Intro to Silver Rumba lesson since the dances are very similar.
Based on the timing of Cha Cha - 2 3 4&1 - we see that the rhythm is composed of 3 beats and 2 half beats (or syncopations). The full beats occur at 1, 2, and 3. Because these are full beats, these should be the larger steps. For the syncopations, these are half beats and should therefore be half size steps. As you are dancing, really try to emphasize beats 1 and 3.
Aida. This figure is typically danced from a Hand to Hand. Spiral Action for lady to 2 forward walks, then a forward walk turning to a back lock, flip to face the man by placing your right foot under your right side on 2, shift weight to the left foot on 3, split cuban break on 4&1, then spot turn ending. For the man, dance a hand to hand normally but lead lady so that she takes a forward lock instead of a chasse, lead lady through spiral action on 1, walk backwards on 2 and 3, flip lady through a forward walk turning on the & of 3, back lock on 4&1, flip to face the lady by placing your left foot under your left side on 2, shift weight to the right foot on 3, split cuban break on 4&1, then spot turn ending.
Just like in the Quickstep lesson last Friday, dance your back in both the Rumba and Cha Cha. This is aided by pointing your knees in the correct direction.
Sept 26 Silver lesson
We started by having all of you dance Waltz for us. What we noticed:
Dancing flat. Very little use of rotation in the dancing. Fix this by rotating over the standing leg a.k.a dancing the back a.k.a. dancing your sides a.k.a dancing with dynamics. Without this rotation, you aren't really dancing, you're just taking steps while touching someone else.
Position of the man's left hand and lady's right hand. Align this hand to hand connection with the lady's ear. The man's elbow should be very clearly lower than his wrist/hand. Remove the tension in the forearms... think only of placing your elbows and your hands. For Tango, the man's hand shifts more to the right to account for the lady being further into his right side; the level of the hand should not change compared to the swing dances.
Dancing with energy from your left side. Or rather, through your left elbow. This is for both the man and lady. Later on, there will be further iterations on where your energy should originate. We dance from the left side because that is the side furthest away from the body connection (so that less effort is required to make changes).
In natural turns, the person moving forward provides the drive for the couple. In reverse turns, the person moving backward provides the drive for the couple. The reasons for this are directly related to the previous point about dancing from the left side.
Dancing flat. Very little use of rotation in the dancing. Fix this by rotating over the standing leg a.k.a dancing the back a.k.a. dancing your sides a.k.a dancing with dynamics. Without this rotation, you aren't really dancing, you're just taking steps while touching someone else.
Position of the man's left hand and lady's right hand. Align this hand to hand connection with the lady's ear. The man's elbow should be very clearly lower than his wrist/hand. Remove the tension in the forearms... think only of placing your elbows and your hands. For Tango, the man's hand shifts more to the right to account for the lady being further into his right side; the level of the hand should not change compared to the swing dances.
Dancing with energy from your left side. Or rather, through your left elbow. This is for both the man and lady. Later on, there will be further iterations on where your energy should originate. We dance from the left side because that is the side furthest away from the body connection (so that less effort is required to make changes).
In natural turns, the person moving forward provides the drive for the couple. In reverse turns, the person moving backward provides the drive for the couple. The reasons for this are directly related to the previous point about dancing from the left side.
Subscribe to:
Comments (Atom)
