Last Sunday (12/12/2009), I competed in Pro/Am International Standard with Ikaika at Holiday Dance Classic in Las Vegas. We competed in Bronze A scholarship (age 16-35). This is a three dance event, with Waltz, Foxtrot and Quick Step. We got marked first place for all three dances from all judges, expect for one second from one judge. So needless to say, I was (still am) very very happy. It started with a semi final or 10+ couples.
We also competed in the single dances in A1 Bronze, waltz, tango, Viennese Waltz, Foxtrot and quick step, and got first place in those too, although the judges scores are not as overwhelming.
This is the first time, I've competed in a scholarship. Winning surely feels good :D
The next goal in Pro/Am comp is San Francisco Open at the end of March. I hope I will be good enough to do silver by then.
Friday, December 18, 2009
Standard Lesson with Ikaika on 12/18/2009
Basically, no cutting corners, every step needs to receive weight completely, 100%, not falling through them.
Quick step
too high, too high, too high!!!
Need to settle the weight to the legs, everywhere, but especially at the end of the quarter turn before moing on the next step, even if it's a toe lead there, need to settle the weight to the leg/feet.
Use fema to move, not just tilt upper body?
Chasse step, don't fall through, remember that the third step, the second Q in SQQS, needs to use the right foot, not to be fall out from.
Foxtrat
Sway, Neuralize the sway at & of 4&. then continue to sway onto the next side.
move forward in space with continues shifting of gear for a smooth speed?
timing: count the timing with the standing/supporting leg, then. Dance it QQS, instead of SQQ?
Quick step
too high, too high, too high!!!
Need to settle the weight to the legs, everywhere, but especially at the end of the quarter turn before moing on the next step, even if it's a toe lead there, need to settle the weight to the leg/feet.
Use fema to move, not just tilt upper body?
Chasse step, don't fall through, remember that the third step, the second Q in SQQS, needs to use the right foot, not to be fall out from.
Foxtrat
Sway, Neuralize the sway at & of 4&. then continue to sway onto the next side.
move forward in space with continues shifting of gear for a smooth speed?
timing: count the timing with the standing/supporting leg, then. Dance it QQS, instead of SQQ?
Sunday, December 6, 2009
Standard Lesson with Ikaika on 12/6/2009
We worked on Foxtrat. Mainly on the natural to weave.
1. Natrual turn, at the end of the heel turn, should not have body weight falling out of the right side. This is kinda complicated. I need to have knee aligned to the middle of the right foot, and hip sits on top of it(not falling to the right), and upper body stretch to the left.
2. hold. Put the weight to the back. Feels like holding a pilate ball. This should help to keep the right shoulder back. The head need to be an extention of the right line, but face shouldn't be turned too much.
3.
1. Natrual turn, at the end of the heel turn, should not have body weight falling out of the right side. This is kinda complicated. I need to have knee aligned to the middle of the right foot, and hip sits on top of it(not falling to the right), and upper body stretch to the left.
2. hold. Put the weight to the back. Feels like holding a pilate ball. This should help to keep the right shoulder back. The head need to be an extention of the right line, but face shouldn't be turned too much.
3.
Saturday, December 5, 2009
Ohio Star Ball 2009
Did Ohio star ball 2009 the weekend before Thanksgiving.
Got into Columbus on Friday night at 10pm. Only got into bed at 12:30am. Had to get up at 4am to get ready. Anna helped me to do hair and makeup. then gotto the comp at 7:30. Competition starts at 8:30. I had great result. got first place in Bronze for all 4 dances i did: waltz, tango, foxtrat, quickstep. (the score actually shows that I have an overwhelming first place) The next day I competed in the championship event. Didn't make it out of the first round, but the scoresheet was not too bad. I got quite a few callbacks in Foxtrat.
I also really enjoyed the competition, even though I didn't even watch the comp that much. This is the first Pro/Am comp I've done with Ikaika. And the second Pro/Am comp I've ever done. Feels much better than the first one 2 years ago. At least, there are plenty of people to compete against. First place actually means something! And Josh took some fabulous pictures. They are by far my best dancing pictures.
1. Right elble fall behind right shoulder. Need to use the right side back muscle to keep the right side forward. I feel lucky that I am not a guy, otherwise, I will definite have the terrible problem of leaving partner behind with the right shoulder beaking the line.
2. Steps are not fluent and melted together, they are choppy.
3. Couldn't tell when we are going into prominent.
4. Get into partner's space a lot. (acutally Ikaika pointed out this one, I was not really aware of it until he pointed it out.)
Tuesday, December 1, 2009
Standard Lesson with Olya on 12/1/2009
Time:
Location:
Attendee:
Today we worked on tango. walk, walk, link, close prominent.
1. Sharron needs to use the right side back to chose to the partner, the right arm needs to be connected to the right side of the body. Feel like pressing using the outside of the palm.
2. belly tucked in, a straight line till the head, no promping chest out.
3. in Prominent position, remember to keep left arm up. Don't drop it in the close prominent step.
4. Leader use the right hip and knee to turn the follower to close position.
5. The turn to the close position is felt at the knee and hip. The size of the next side step is felt at the center (i.e. contact parts)
6. Leader shouldn't slide step size in tango, espeically on the second last step (left foot) of the close prominent.
Location:
Attendee:
Today we worked on tango. walk, walk, link, close prominent.
1. Sharron needs to use the right side back to chose to the partner, the right arm needs to be connected to the right side of the body. Feel like pressing using the outside of the palm.
2. belly tucked in, a straight line till the head, no promping chest out.
3. in Prominent position, remember to keep left arm up. Don't drop it in the close prominent step.
4. Leader use the right hip and knee to turn the follower to close position.
5. The turn to the close position is felt at the knee and hip. The size of the next side step is felt at the center (i.e. contact parts)
6. Leader shouldn't slide step size in tango, espeically on the second last step (left foot) of the close prominent.
Standard Less with Ikaika on 11/30/2009
Time: Monday, 12:30pm
Location: Spectrum
Attendee: Sharron, Daniel
1. Today we worked on a silver figure step in Waltz: outside partner to Prominent.
Sharron needs to stay behind a bit in the prominent position. Stretch out that turning into prominent, feels like there is an eternity to do that change from close to prominent.
2. Exercise: scoop(christian) to back scoop(japanese)
think of the forward step as scooping using the hip bone.
think of the backward step as back scooping.
Use the box step to practice the transition from forward scooping to back ward scooping, Needs to do 80 of these before next class together.
Location: Spectrum
Attendee: Sharron, Daniel
1. Today we worked on a silver figure step in Waltz: outside partner to Prominent.
Sharron needs to stay behind a bit in the prominent position. Stretch out that turning into prominent, feels like there is an eternity to do that change from close to prominent.
2. Exercise: scoop(christian) to back scoop(japanese)
think of the forward step as scooping using the hip bone.
think of the backward step as back scooping.
Use the box step to practice the transition from forward scooping to back ward scooping, Needs to do 80 of these before next class together.
Wednesday, November 11, 2009
Standard Lesson Notes with Ikaika on 11/9/2009
Time: Monday, 11:45am
Location: Spectrum
Attendee: Sharron, Daniel
Today we continued on the sway and shaping on Waltz. We went through half natural, hesitation, double reverse spin, chasse, outside change, and then natural spin
1. On the natural spin, I am to keep my head weight on the left and forward through to reach to the top for the spin. This actually helped me in the spin.
2. We talked about general shaping. I was able to feel the shaping without moving the hip, meanwhile taking the belly in, creating the shape from the upper back.
3. We changed the hesitation in waltz to have the head looking to the right before going back to left.
4. We worked on heel turn a bit to ensure that Daniel steps at the right place for the heel turn. I also find that if I keep my knee bent, I was able to accommodate a bigger range of difference in the heel turn.
5. We also did it a bit in foxtrot, but not much more than the reverse turn. Reverse turn is complicated for the girl, needs to keep the head left, shaping to the right, and the body weight go through the whole foot from the heel to the toe, and use the ankle, and don’t forget the lingering feeling.
Q&A
Location: Spectrum
Attendee: Sharron, Daniel
Today we continued on the sway and shaping on Waltz. We went through half natural, hesitation, double reverse spin, chasse, outside change, and then natural spin
1. On the natural spin, I am to keep my head weight on the left and forward through to reach to the top for the spin. This actually helped me in the spin.
2. We talked about general shaping. I was able to feel the shaping without moving the hip, meanwhile taking the belly in, creating the shape from the upper back.
3. We changed the hesitation in waltz to have the head looking to the right before going back to left.
4. We worked on heel turn a bit to ensure that Daniel steps at the right place for the heel turn. I also find that if I keep my knee bent, I was able to accommodate a bigger range of difference in the heel turn.
5. We also did it a bit in foxtrot, but not much more than the reverse turn. Reverse turn is complicated for the girl, needs to keep the head left, shaping to the right, and the body weight go through the whole foot from the heel to the toe, and use the ankle, and don’t forget the lingering feeling.
Q&A
Standard Lesson Notes with Ikaika on 11/7/2009
Time: Saturday, 11:45am
Location: Spectrum
Attendee: Sharron, Daniel
Today we worked on the sway and shaping in both Foxtrot and Waltz
1. The reverse turn in Foxtrot (i.e. the a heel turn after feather) is a left turning figure for the man, therefore a right turning for the lady, therefore a sway to the right. This sway to the right helped with the turn for the lady, it also create an invitation for the man to pass through. The sway is neutralized only at the slow at the beginning the feather finish. Don’t change it back too early. But mean time, the head needs to be kept in the left space still (i.e. the lingering effect still desired).
2. Ikaika worked with Daniel on the heel turn, regarding where to step the foot.
Location: Spectrum
Attendee: Sharron, Daniel
Today we worked on the sway and shaping in both Foxtrot and Waltz
1. The reverse turn in Foxtrot (i.e. the a heel turn after feather) is a left turning figure for the man, therefore a right turning for the lady, therefore a sway to the right. This sway to the right helped with the turn for the lady, it also create an invitation for the man to pass through. The sway is neutralized only at the slow at the beginning the feather finish. Don’t change it back too early. But mean time, the head needs to be kept in the left space still (i.e. the lingering effect still desired).
2. Ikaika worked with Daniel on the heel turn, regarding where to step the foot.
Standard Lesson Notes with Ikaika on 11/6/2009
Time: Saturday, 11:45am
Location: Spectrum
Attendee: Sharron, Daniel
Today we started with running over all routines. I was somehow nervous to do that, and felt tense. Ikaika keep on telling me to drop my weight down, not to hold it up. There was once I was able to do it, and it felt like dropping a sigh on the floor. Don’t remember much else about the lesson
Location: Spectrum
Attendee: Sharron, Daniel
Today we started with running over all routines. I was somehow nervous to do that, and felt tense. Ikaika keep on telling me to drop my weight down, not to hold it up. There was once I was able to do it, and it felt like dropping a sigh on the floor. Don’t remember much else about the lesson
Standard Lesson Notes with Olya on 11/5/2009
Location: Spectrum Time: 6:15pmAttendee: Sharron
Today we worked on
1. The shaping of feather and the 3 steps
a. Exercise: walk the feather and 3 steps down the line, having neutral position on the slow, but open the hip at & before the quick, and then maintain the hip open for the second quick.
b. Feel like the open side shoulder is going up and moving through space in the moving direction(i.e. back for me)
Today we worked on
1. The shaping of feather and the 3 steps
a. Exercise: walk the feather and 3 steps down the line, having neutral position on the slow, but open the hip at & before the quick, and then maintain the hip open for the second quick.
b. Feel like the open side shoulder is going up and moving through space in the moving direction(i.e. back for me)
Standard Lesson Notes with Ikaika on 10/30/2009
Time: Saturday, 11:45am
Location: Spectrum
Attendee: Sharron
This is the lesson that I found my ankle? We worked a bit of foxtrot and some QS.
Ikaika talked about using the ankle. I realized that you can actually flexing the ankle without flexing the knee much. The end result is that the vertical line of the body is shifted forward, more toward the partner.
There are three major joints we need to use to generate the drive: hip, knee and ankle. He is commenting on that I use knee, but not much of hip and ankle.
Location: Spectrum
Attendee: Sharron
This is the lesson that I found my ankle? We worked a bit of foxtrot and some QS.
Ikaika talked about using the ankle. I realized that you can actually flexing the ankle without flexing the knee much. The end result is that the vertical line of the body is shifted forward, more toward the partner.
There are three major joints we need to use to generate the drive: hip, knee and ankle. He is commenting on that I use knee, but not much of hip and ankle.
Tuesday, October 20, 2009
standard lesson with Olya on 10/20/2009
Location: Spectrum
Time: 11:30am
Attendee: Daniel, Sharron
Today we worked on Tango.
1.hold: left side forward, right side toward partner, stay connected?
2. left arm/side stay up, especially in prominent close.
3. keep link compact to the create sharpness.
4.
Time: 11:30am
Attendee: Daniel, Sharron
Today we worked on Tango.
1.hold: left side forward, right side toward partner, stay connected?
2. left arm/side stay up, especially in prominent close.
3. keep link compact to the create sharpness.
4.
Monday, October 19, 2009
Standard Lesson With Ikaika on 10/19/2009
Location: Spectrum
Time: 12:15pm
Attendee: Sharron
V Waltz:
1. Timing:
2. do not worry about getting arround. Rather think about using standing leg?
QuickStep:
Routine:
forward lock,
natural turn,
back lock,
running finish,
1. at the end of natural turn, lower before getting into the back lock. do not fall into back lock.
2. running finish is SQQS. need to be prepared for the second quick.
Time: 12:15pm
Attendee: Sharron
V Waltz:
1. Timing:
2. do not worry about getting arround. Rather think about using standing leg?
QuickStep:
Routine:
forward lock,
natural turn,
back lock,
running finish,
1. at the end of natural turn, lower before getting into the back lock. do not fall into back lock.
2. running finish is SQQS. need to be prepared for the second quick.
Standard Workshop by Cristian De Cillis on 10/18/2009
Location: Starlite
Time: 2:00pm
This workshop is about quickstep.
1. Timing of quick & quick on the locks
2. Samba rolls in privot turn, slow slow slow.
3. pepper pot
3. positive energy in the head.
Time: 2:00pm
This workshop is about quickstep.
1. Timing of quick & quick on the locks
2. Samba rolls in privot turn, slow slow slow.
3. pepper pot
3. positive energy in the head.
Standard Lesson with Cristian DeCillis on 10/17/2009
Location: Starlite
Time: 1:00pm
Attendee: Daniel, Sharron
We worked on Tango today. Mostly on the posture and hold, then the walk walk link.
1. In the starting position, two feet are together, sitting down, with weight on heel of the foot, give the center to the partner.
2. In the prominent position, follower's right knee is pressing against leader's left knee (i.e. pressing outward, instead of inward), preparing for the next step.
3. Don't be scared.
Time: 1:00pm
Attendee: Daniel, Sharron
We worked on Tango today. Mostly on the posture and hold, then the walk walk link.
1. In the starting position, two feet are together, sitting down, with weight on heel of the foot, give the center to the partner.
2. In the prominent position, follower's right knee is pressing against leader's left knee (i.e. pressing outward, instead of inward), preparing for the next step.
3. Don't be scared.
Thursday, October 15, 2009
Standard Lesson with Ikaika on 10/15/2009
Location: Dance Spectrum
Attendee: Sharron
Tango
twist turn(SQQSQQ)
SQ : promient postion, don't pull shoulder back
Q: close position. but don't over close. put weight on right foot.
S: step straight forward, not arround.
QQ: small steps, at the second Q, left foot is completely prepared to be under body to provide the sharp turn into prominent.
Remember to prepare the foot. Remember to keep the weight in the inside of the right foot on the prominent steps, so that the weight is falling away from the partner.
quarte
Waltz
1. double reverse spin
a. don't turn body relative to foot. just turn the foot to the right direction. body would follow.
b.
Attendee: Sharron
Tango
twist turn(SQQSQQ)
SQ : promient postion, don't pull shoulder back
Q: close position. but don't over close. put weight on right foot.
S: step straight forward, not arround.
QQ: small steps, at the second Q, left foot is completely prepared to be under body to provide the sharp turn into prominent.
Remember to prepare the foot. Remember to keep the weight in the inside of the right foot on the prominent steps, so that the weight is falling away from the partner.
quarte
Waltz
1. double reverse spin
a. don't turn body relative to foot. just turn the foot to the right direction. body would follow.
b.
Wednesday, October 14, 2009
Standard Lesson with Ikaika on 10/2/2009
Location: Dance Spectrum
Attendee: Daniel, Sharron
Waltz:
open impetus:
lady keep on going straight through the guy? what else?
Foxtrat:
what did we talked about here?
Attendee: Daniel, Sharron
Waltz:
open impetus:
lady keep on going straight through the guy? what else?
Foxtrat:
what did we talked about here?
Standard Lesson with Ikaika on 10/6/2009
Location: Dance Spectrum
Time: noon
Attendee: Sharron
Tango
1. promenent close is closing to the leader and still staying left.
2. back quate?
Foxtrat from 10/1/2009 lesson
1. Foxtrat Timing:
a. split weight on whole count, complete shifting of wight on the &.
b. 4& is the lowest point.
c. heel turn timing:
heel turn is between 2 and 2&
3 is split weight on both foot,
& is shifting weight completely on left foot.
2. Using of standing leg, feel the weight transfer from the front of the foot to the end of the foot.
Time: noon
Attendee: Sharron
Tango
1. promenent close is closing to the leader and still staying left.
2. back quate?
Foxtrat from 10/1/2009 lesson
1. Foxtrat Timing:
a. split weight on whole count, complete shifting of wight on the &.
b. 4& is the lowest point.
c. heel turn timing:
heel turn is between 2 and 2&
3 is split weight on both foot,
& is shifting weight completely on left foot.
2. Using of standing leg, feel the weight transfer from the front of the foot to the end of the foot.
Standard Lesson with Olya 10/12/2009
attendee: Sharron, Daniel
Foxtrat
1. Feather finish: Question from Daniel on how to swing/sway without dropping the right side.
Anwer: ?
2. Do CBM in feather step and three step so that it doesn't look too square.
3. Weave: do feather finish at the end of it.
4. information from lesson last week on Oct 5th?
Tango
1. Tango Hold:
a. Leader keep the right hand in front of the ribcage at all time, especially in prominent position.
b. Lady stay left, especially on the link, keep staying on the left to ensure staying behind the leader after turning into prominent.
c. Keep low/connected to the ground. Don't get rise at all. this is not waltz. Don't straigthen the knee when stretching the upper body.
2. quarte?
Foxtrat
1. Feather finish: Question from Daniel on how to swing/sway without dropping the right side.
Anwer: ?
2. Do CBM in feather step and three step so that it doesn't look too square.
3. Weave: do feather finish at the end of it.
4. information from lesson last week on Oct 5th?
Tango
1. Tango Hold:
a. Leader keep the right hand in front of the ribcage at all time, especially in prominent position.
b. Lady stay left, especially on the link, keep staying on the left to ensure staying behind the leader after turning into prominent.
c. Keep low/connected to the ground. Don't get rise at all. this is not waltz. Don't straigthen the knee when stretching the upper body.
2. quarte?
Tuesday, September 29, 2009
standard Lesson with Olya on 09/28/2009
Location: Dance Spectrum.
Time: 4pm
Attendee: Sharron, Daniel
We looked at the competition video first then worked on waltz.
1. Hold for Daniel at the beginning
a. Keep both albles (especially left alble) shoulder height, not highers. Relative position of left shoulder, alble, hand doesn not change during sway. Relative position of the right hand should always be in front of the body, even during double reverse spin turn and whisk.
b. hands should at partner's eye level.
c. something about turning, projecting and presenting the partner?
2. Keep down to to the ground, not up in the air with shoulders over ears.
3. go down on the & before 1, to enable a powerful drive on 1. then 2 is swinged up.
4. Keep the rising position slightly longer in the 2& of chasse after whisk.
5. Whisk: to go into the prominent position, only the head and the hip turns, not the upper body. Sharron needs to remember the head turns at the same speed as hip, and keep it smooth, pressing feeling, instead of sudden, in the process of turn head to prominent and turning back to close position.
Watlz Workshop by Cristian De Cillis on 09/27/2009
Location: Starlite Ballroom Studio.
Time: 4pm
Attendee: Daniel, Sharron
1. posture and hold
2. exercises of natural, change step, reverse, change step, natural...
a. feel the resistence and sway from the knee.
3. an Amalgamation
a. whisk,
b. wave
c. close prominent
d. running zigzag
e. open impetus?
d. chasse ending in prominent
e. challenge line
f. over sway
4. A few point:
a. don't open on the whisk so quickly.
b. Lady goes with full motion on wave on 2 (the right foot)
Time: 4pm
Attendee: Daniel, Sharron
1. posture and hold
2. exercises of natural, change step, reverse, change step, natural...
a. feel the resistence and sway from the knee.
3. an Amalgamation
a. whisk,
b. wave
c. close prominent
d. running zigzag
e. open impetus?
d. chasse ending in prominent
e. challenge line
f. over sway
4. A few point:
a. don't open on the whisk so quickly.
b. Lady goes with full motion on wave on 2 (the right foot)
Thursday, September 17, 2009
Standard Lesson with Ikaika on 9/16/2009
Location: Dance Spectrum.
Time: 4pm
Attendee: Sharron
Today we worked on Foxtrat.
1. Heel turn: need
Time: 4pm
Attendee: Sharron
Today we worked on Foxtrat.
1. Heel turn: need
a. Do not get back on the heel immediately, go through the foot before getting back to the heel. Seems like only the turn is on the heel, other time still on the front part of the foot.
b. Keep the weight forward still.
c. Use the energy on the standing foot. This is the inside turn position.
d. Always start on the slow.
2. 4 positions of the foot: inside front, outside front, inside back, outside back.
a. exercise: go round in circles and figure 8 to feel weight on the different positions
b. make sure that the shift the weight from the lower body, not by tilting the upper body.
3. Send the lower body, not tilt the upper body, especially on the weave step. Upper body moving with the lower body, like a candle moves with the candle stand.
4. weave: direction of the foot is toward the partner.
5. Always shows the energy, and contribute in an equal position, even when practicing the skills. But energy doesn’t mean always moving forward, it means pressing the floor, use the standing leg.
6. Thinking the use of the energy through the foot, from the toe, to ball to arch to heel.
7. Remember the choreography: heel turn all started on slow.
Wednesday, September 2, 2009
Standard Lesson with Ikaika 9/2/2009
Location: Dance Spectrum.
Time: 4pm
Attendee: Sharron, Daniel
Today we worked on Quickstep.
1. lock step followed by quarter turns: Sharron should remember to open the right side, (not only the right hip), and let the partner pass, but time it with the movement of the partner, do not finish the turn early. And the end of it, Daniel needs to remember to still give the right side towards the partner.
2. Daniel needs to remember to keep the right side up, not necessarily shoulder, but the right side. especially during the quater turns and the end of the lock.
3. Don't rise too much on the leg, practice rise only the upper body.
4. Both Sharron and Daniel needs to keep the feeling of upper body weighted down toward the floor during rising. Right now it is too high up. Need to do the teraband exercise.
5. Ikaika used an interesting way to put Sharron into correct posture, he had sharron putting her hands on his shoulder, then he just expanded. It is a strange(in a good way) sensation
6. Daniel's right hand/wrist position.
Notes for previous lessons on Quicksteps in August.
From Daniel:
1. Running Finish Figure should be smooth. This means rotation should also be smooth. Start the rotation on 1.
2. This is the main point about running finish: not falling forward.
a. After 1, anchor weight on left foot and place right foot in the right direction. When right foot is in place, start pushing off left foot (this will also push the right foot forward more increasing the size of the step.
b. Similar on 2 : keep weight on right foot; place left foot; push off right foot and receive on toe of left foot. Roll left off (toe -> heel) while transferring weight.
NOTE : Quickstep is quick, so we need to prepare the stepping foot faster; otherwise, we fall (as there is no support). By preparing the foot faster and not falling, we also make sure we do not "make noise" when we step (because the steps are softer??). This is where Ikaika's story of him dancing and his instructor saying "I do not know if you were on time because I could not hear the music over the sound of your steps"....
From Sharron:
a. Sharron's part on Running finish: Do not stop moving at the end of it, on the right foot going back step. keep moving.
Time: 4pm
Attendee: Sharron, Daniel
Today we worked on Quickstep.
1. lock step followed by quarter turns: Sharron should remember to open the right side, (not only the right hip), and let the partner pass, but time it with the movement of the partner, do not finish the turn early. And the end of it, Daniel needs to remember to still give the right side towards the partner.
2. Daniel needs to remember to keep the right side up, not necessarily shoulder, but the right side. especially during the quater turns and the end of the lock.
3. Don't rise too much on the leg, practice rise only the upper body.
4. Both Sharron and Daniel needs to keep the feeling of upper body weighted down toward the floor during rising. Right now it is too high up. Need to do the teraband exercise.
5. Ikaika used an interesting way to put Sharron into correct posture, he had sharron putting her hands on his shoulder, then he just expanded. It is a strange(in a good way) sensation
6. Daniel's right hand/wrist position.
Notes for previous lessons on Quicksteps in August.
From Daniel:
1. Running Finish Figure should be smooth. This means rotation should also be smooth. Start the rotation on 1.
2. This is the main point about running finish: not falling forward.
a. After 1, anchor weight on left foot and place right foot in the right direction. When right foot is in place, start pushing off left foot (this will also push the right foot forward more increasing the size of the step.
b. Similar on 2 : keep weight on right foot; place left foot; push off right foot and receive on toe of left foot. Roll left off (toe -> heel) while transferring weight.
NOTE : Quickstep is quick, so we need to prepare the stepping foot faster; otherwise, we fall (as there is no support). By preparing the foot faster and not falling, we also make sure we do not "make noise" when we step (because the steps are softer??). This is where Ikaika's story of him dancing and his instructor saying "I do not know if you were on time because I could not hear the music over the sound of your steps"....
From Sharron:
a. Sharron's part on Running finish: Do not stop moving at the end of it, on the right foot going back step. keep moving.
Standard Less with Ikaika on 9/1/2009
Location: Dance Spectrum.
Time: 8pm
Attendee: Sharron, Daniel
Today we had lesson with Ikaika's new partne. And we worked on Waltz.
Sharron's notes
1. hold:
a. walk into an lowered position, and then stretch out.
b. Daniel's left knee should be relaxed.
2. natural turn:
a. Sharron needs to leave the head and upper body to the left/behind while letting the hip turn with the leader. Thinking waltz as the dance of the past moment.
3. double reverse spin turn:
a. Always keep the head weight on the heel of the standing leg, for all poses, not only in double reverse spin turn.
b. swing the hip out of the heel turn. swing right side up, not left side down.
c. don't over turn. so that we are winded up for the reverse turn after it.
4. Prominent position.
a. Sharron's left foot needs to be bigger to get behind Leader's hip.
5. Chasse from Prominent:
a. turn head while turning hip
Time: 8pm
Attendee: Sharron, Daniel
Today we had lesson with Ikaika's new partne. And we worked on Waltz.
Sharron's notes
1. hold:
a. walk into an lowered position, and then stretch out.
b. Daniel's left knee should be relaxed.
2. natural turn:
a. Sharron needs to leave the head and upper body to the left/behind while letting the hip turn with the leader. Thinking waltz as the dance of the past moment.
3. double reverse spin turn:
a. Always keep the head weight on the heel of the standing leg, for all poses, not only in double reverse spin turn.
b. swing the hip out of the heel turn. swing right side up, not left side down.
c. don't over turn. so that we are winded up for the reverse turn after it.
4. Prominent position.
a. Sharron's left foot needs to be bigger to get behind Leader's hip.
5. Chasse from Prominent:
a. turn head while turning hip
Monday, August 10, 2009
Standard Lesson with Ikaika 8/10/2009
Location: Dance Spectrum
Time: 10:45am
Attendee: Sharron, Daniel,
Note Taker: Daniel
Note Taker: Daniel
Today we did waltz to prepare for the competition at the end of September. we worked on
1. whisk.
2. teraband exercises
Daniel:
I cannot really remember a lot of things. We spent a lot of time on the whisk without actually learning anything specific to the whisk.
The main points were:
A) Feet positioning
1) First step goes forward
2) Second step goes forward and to the side similar to a closed change
i) we want to go to the side so the third step is not "sudden"
ii) we want to keep the momentum going forward
B) BALANCE (this was actually what we spent most time on)
1) Make sure weight is fully on the second step (second step is the "sloppy" one); usually weight does not fully get on 2), or it does not "settle" on 2) and we "fall" on the third step
2) Daniel tends to move his hip over the receiving foot (instead of the whole body), while Sharron tends to move her upper body????
Exercises
The band is supposed to create an actions which counters the natural body tendency.
1) Band around the waist
Tie the band around the waist. The band should go behind you while you hold the ends in front of you.
Now suck belly in while pulling the band forward. When sucking the belly in, we tend to shift everything backward. Pulling the band forward should prevent this.
Release the belly and the band.
Repeat.
2) "Neck tie"
Hold the band as a necktie (before tying it)
Lower ankle, bend knee.
Now start rising (knee and ankle) and pull the "necktie" down. Pulling the band down should make sure we do not "pop-up" when we go up. It should keep the shoulders down and create a long neck.
Release band while lowering.
Repeat.
3) Behind the back
Place one hand above the head and the other hand behind the back at waist level. Hold the band between the hands. (Band should now be parallel to spine).
Stretch band while lowering. Stretching the band should prevent "collapsing" of the whole body. (It should also create more awareness of when to lower).
Release the tension on the band at the end of lowering so band is "armed" and ready for the next lowering
4) Basic routines
Dance basic waltz/foxtrot while doing exercises 2) and 3).
1. whisk.
2. teraband exercises
Daniel:
I cannot really remember a lot of things. We spent a lot of time on the whisk without actually learning anything specific to the whisk.
The main points were:
A) Feet positioning
1) First step goes forward
2) Second step goes forward and to the side similar to a closed change
i) we want to go to the side so the third step is not "sudden"
ii) we want to keep the momentum going forward
B) BALANCE (this was actually what we spent most time on)
1) Make sure weight is fully on the second step (second step is the "sloppy" one); usually weight does not fully get on 2), or it does not "settle" on 2) and we "fall" on the third step
2) Daniel tends to move his hip over the receiving foot (instead of the whole body), while Sharron tends to move her upper body????
Exercises
The band is supposed to create an actions which counters the natural body tendency.
1) Band around the waist
Tie the band around the waist. The band should go behind you while you hold the ends in front of you.
Now suck belly in while pulling the band forward. When sucking the belly in, we tend to shift everything backward. Pulling the band forward should prevent this.
Release the belly and the band.
Repeat.
2) "Neck tie"
Hold the band as a necktie (before tying it)
Lower ankle, bend knee.
Now start rising (knee and ankle) and pull the "necktie" down. Pulling the band down should make sure we do not "pop-up" when we go up. It should keep the shoulders down and create a long neck.
Release band while lowering.
Repeat.
3) Behind the back
Place one hand above the head and the other hand behind the back at waist level. Hold the band between the hands. (Band should now be parallel to spine).
Stretch band while lowering. Stretching the band should prevent "collapsing" of the whole body. (It should also create more awareness of when to lower).
Release the tension on the band at the end of lowering so band is "armed" and ready for the next lowering
4) Basic routines
Dance basic waltz/foxtrot while doing exercises 2) and 3).
Monday, July 27, 2009
Standard Lesson with Ikaika 7/27/2009
Location: Dance Spectrum
Time: 10:45am
Attendee: Sharron, Daniel,
Today we revisited tango. Really good lesson today, need to practice to drill the points in.
1 Rock Turn:
a). Shaping in rock step: The indicator of shaping from the leader is just an indicator, an inch, not a mile.
b). Sharron needs to remember to give the left shoulder up toward the partner before the shaping, and
c). Tick in the corte: right and then left, like a shiver. We can not really be fast, we can just stop fast to create the sharp image.
2. Reverse turn: (QQSQQ)
a) remember left turning figure needs to keep left side forward.This means, only left upper body, parts above the hip, not including the hip,
b) Sharron needs to remember to feel heavy on the lower body, feel the weight on the the standing leg connected to the floor, and stretch/grow the upper body,
c) Leader steps back on SQ, not curving too much.
3. Natural Twist turn.(SQQSQQ)
a) both person needs to remember to stay down,(Screw down).
b) right turning figure should have right side forward.
c) after the first Q, the man needs to power toward a slight turn to the right, and then step across on the next Q.
d) Man: right knee hook behind left knee. toe of right foot only slightly behind left foot. turn on right toe, left heel.
6 Natural prominent turn.
Sunday, July 26, 2009
Standard Lesson with Ikaika 7/20/2009
Location: Dance Spectrum
Time: 12:00pm
Attendee: Sharron, Daniel
Today we did Foxtrat because we didn't have time to practice on tango last week. Today's class is somewhat confusing to me. Anyway, here are the few points, I think I heard/understand
1. Foxtrat timing:split weight on whole count, completely transfered weight on &.
(78&1&2&3&4 ) feather step
(78&1&2&3&4 ) feather step
2. weight need to go straight down to be right in front of the heel. even when bending down, bend stright down.
3. exercise:
a. use inner thought muscle to pull legs together. from side to center, from front back to middle
b. contract muscle from belly.
c. turn shoulder arround without turning hips.
Tuesday, July 14, 2009
Standard Lesson with Ikaika 7/13/2009
Location: Dance Spectrum
Time: 12:00pm
Attendee: Sharron, Daniel
Today we did tango again.
1. Rock step:
(S S QQS QQS )
(123456781234)
a. Follower shape to the left at the end of 2nd slow. This slow is emphasized.
b. shape to the right out rock step, this the third slow. it is also empahsized, remember to have sharp/upward shape.
c. out of the rock step (the third Q) is a back step for the leader.
2. Natural pivot turn from prominent position (SQQSQQ)
a. start from facing diagonal wall, end up facing down LOD in prominent position. At the end, leader needs to make sure that the upper body (shoulder) is parallel to LOD, facing partner, Hip is turn out slightly for prominent position, head and foot is facing LOD in prominent position.
b. the step leaving from prominent position is the same as porminent close. Remember to move the body as a stack foward with the right knee, don't leave the butt behind.
b. right turning figures, follower should turn the lower body, leader should turn the upper body. Left turning figures is the opposite.
c. Turn the head to the left(up) on the first QQS?
3. Posture: mental picture of Lady's posture
a. left shoulder stretch up forward toward partner, grow toward the partner, not away.
b. close ribcage.
c. close tummy
d. left arm and shoulder up
4. flexibility of shoulder vs hip: exercise, glue hip on the chair, and turn upper body/shoulder only.
5. Q&A: reverse turn first/second step still feel awkward.
Time: 12:00pm
Attendee: Sharron, Daniel
Today we did tango again.
1. Rock step:
(S S QQS QQS )
(123456781234)
a. Follower shape to the left at the end of 2nd slow. This slow is emphasized.
b. shape to the right out rock step, this the third slow. it is also empahsized, remember to have sharp/upward shape.
c. out of the rock step (the third Q) is a back step for the leader.
2. Natural pivot turn from prominent position (SQQSQQ)
a. start from facing diagonal wall, end up facing down LOD in prominent position. At the end, leader needs to make sure that the upper body (shoulder) is parallel to LOD, facing partner, Hip is turn out slightly for prominent position, head and foot is facing LOD in prominent position.
b. the step leaving from prominent position is the same as porminent close. Remember to move the body as a stack foward with the right knee, don't leave the butt behind.
b. right turning figures, follower should turn the lower body, leader should turn the upper body. Left turning figures is the opposite.
c. Turn the head to the left(up) on the first QQS?
3. Posture: mental picture of Lady's posture
a. left shoulder stretch up forward toward partner, grow toward the partner, not away.
b. close ribcage.
c. close tummy
d. left arm and shoulder up
4. flexibility of shoulder vs hip: exercise, glue hip on the chair, and turn upper body/shoulder only.
5. Q&A: reverse turn first/second step still feel awkward.
Wednesday, July 8, 2009
Standard Lesson with Ikaika 7/6/2009
Location: Dance Spectrum
Time: 12:00pm
Attendee: Sharron (Daniel is out of town this Monday)
Today we did foxtrot
1. feel the weight change controlled, clearly from one foot to the other, not a falling though the space
1. feel the weight change controlled, clearly from one foot to the other, not a falling though the space
2. natural turn to outside partner, then weave: keep weight to the left, toward the left elbow.
3. feel the weight going from one end of the foot to the other end: when going backward, feel the weight on the front of the foot, moving through the foot to the heel. When going forward (like in weave), feel the weight going from the heel (which is where the weight should be after the heel turn) to the ball of the foot then step out.4. Timing: Lady starting from left foot ,
feather step (SQQ),
reverse turn (SQQ),
feather finish(SQQ),
Standard Lesson with Ikaika 7/8/2009
Location: Dance Spectrum
Time: 12:00pm
Attendee: Daniel, Sharron
1) Posture
a. Sharron's left shoulder/arm!!! Think of bow and arrow on the prominent step, don't let the bow tilt back.
b. Daniel's right arm need to keep up, no dropping, and elbow should not go behind the shoulder, especially in prominent position.
2) Timing
a. Timing for "Walk, Walk, Link" is "Slow Slow and Slow". Link needs to be faster/sharper. Lady needs to use the right foot as the pivot point.
3) Rock
a. rock is the rocking of the leg, not the tilting of upper body like a rocking chair.
b. rock is small sexy rocks.
4) Reverse turn
a. Heel lead for the lady on the right foot forward step.
b. Daniel needs to step to the Right on the back step.
Q&A
1) outside partner: Man's foot is not aligned with the direction of the movement, but almost 30 degrees away, while the body is like 45 degrees away.
2) In tango: what about the right side lead, and stepping on the inside edge of circle? What is it about? why we need to do that?
Monday, June 29, 2009
standard lesson with Ikaika 6/29/2009
Today we did tango again. We started working on tango last week.
Location: Dance Spectrum
Time: 12:00pm
Attendee: Daniel, Sharron
1. established the routine
a walk walk, link to prominent
b. close prominent.
b. quarte
c. reverse turn
d. rock
e. link to prominent.
f. Nature pivot turn
g.
...
reverse turn
progressive side step.
2. link. (QQ)
a. put the weight on the right foot COMPLETELY on the first quick.
b. monitor the size of the second Quick.
c. turn toe of inside foot toward the direction of travel.
d. Keep upper body facing each other. hips can form V shape.
3. close of prominent.
a. starting position: lady is behind the guy.
b. movement: try to move the inside leg forward only slightly, then start moving forward the knee of the right side leg to shift the weight of the whole upper body forward, feels like falling, but then inside leg catch up. Moving outside knee forward is key! otherwise there won't be enough space to move the inside legs.
4. reverse turn
a. timing: 1(Q), 2(Q), 3(&), 4(S). Prep on 3 to by moving knee forward, arrive on the foot on the second count of the slow (i.e. 4).
b. monitor where to put 2, it needs to end up facing the partner, therefore usually curved and small. This is the key to not to end up side by side by end of 2. and the right position to be preparing the next step. The correct placement of the foot requires awareness.
c.
d. Gentleman needs to keep the upper body forward while stepping back.
Key points
1. core strength
a. keep the rib in.
b. go to Pilate class!!!
2. awareness
a. use the common center as reference point. the poll in between the two person. Both person always stays on the left and the relative posture to the center poll remains the same.
b. Follower needs to read the connection to feel where/how big the steps are.
c. push to move, weight change indicate the size of the step?
3. Posture
a. Leader's right arm needs to pick up without shoulder up.
b. Follower's left arm/shoulder/lat muscle? needs to stretch upward.
Location: Dance Spectrum
Time: 12:00pm
Attendee: Daniel, Sharron
1. established the routine
a walk walk, link to prominent
b. close prominent.
b. quarte
c. reverse turn
d. rock
e. link to prominent.
f. Nature pivot turn
g.
...
reverse turn
progressive side step.
2. link. (QQ)
a. put the weight on the right foot COMPLETELY on the first quick.
b. monitor the size of the second Quick.
c. turn toe of inside foot toward the direction of travel.
d. Keep upper body facing each other. hips can form V shape.
3. close of prominent.
a. starting position: lady is behind the guy.
b. movement: try to move the inside leg forward only slightly, then start moving forward the knee of the right side leg to shift the weight of the whole upper body forward, feels like falling, but then inside leg catch up. Moving outside knee forward is key! otherwise there won't be enough space to move the inside legs.
4. reverse turn
a. timing: 1(Q), 2(Q), 3(&), 4(S). Prep on 3 to by moving knee forward, arrive on the foot on the second count of the slow (i.e. 4).
b. monitor where to put 2, it needs to end up facing the partner, therefore usually curved and small. This is the key to not to end up side by side by end of 2. and the right position to be preparing the next step. The correct placement of the foot requires awareness.
c.
d. Gentleman needs to keep the upper body forward while stepping back.
Key points
1. core strength
a. keep the rib in.
b. go to Pilate class!!!
2. awareness
a. use the common center as reference point. the poll in between the two person. Both person always stays on the left and the relative posture to the center poll remains the same.
b. Follower needs to read the connection to feel where/how big the steps are.
c. push to move, weight change indicate the size of the step?
3. Posture
a. Leader's right arm needs to pick up without shoulder up.
b. Follower's left arm/shoulder/lat muscle? needs to stretch upward.
Monday, June 8, 2009
Standard Lesson with Ikaika 6/8/2009
Location: Dance Spectrum.
Time: 1pm
Attendee: Sharron, Daniel
1. Foxtrat
Time: 1pm
Attendee: Sharron, Daniel
1. Foxtrat
a. Sharron needs to keep left side (shouler/arm) up!!!
b. every weight shift envoles the relaxing of the joint to receive the weight from the bone above. Consider the human body is not a simplified rigit body inas in phyiscs, it is actually cosmposed of an elastic part, that would give under pressure. Think about the joints at hip, knee and ankle when switching weight from one foot to the other.
c. folower should feel the lead from the shoulder of the leader, and response with the position of the foot. For example in Reverse turn.
d. Weave: foot should face the partner, especially on the right forward step (toe sould point slightly right to point to the partner), the next left step would start of going down straight forward, and turn to the left as the follwoer feels the change of direction from the shoulder of the leader. Sharron needs to remember to keep the left shoulder up, and commit the weight there, so that she doesn't fall to the right.
c. folower should feel the lead from the shoulder of the leader, and response with the position of the foot. For example in Reverse turn.
d. Weave: foot should face the partner, especially on the right forward step (toe sould point slightly right to point to the partner), the next left step would start of going down straight forward, and turn to the left as the follwoer feels the change of direction from the shoulder of the leader. Sharron needs to remember to keep the left shoulder up, and commit the weight there, so that she doesn't fall to the right.
2. Tango
a. Maintan personal balance
3. Exercises
a. transfer weight completely from one foot to the others. fi. Up on left foot, with right foot off the ground, stretch up and left on the upper bound.
ii. bend down on left foot, with weight on the left foot still, continue the stretch
iii. bend down more
iv. shift weight to the right, 20%, 50%, 70%, 100%
v. rise on right foot, left foot off the floor.
vi. down on right foot, left foot still has no weight on the floor.
vii. shift weight ot hte left , 20%, 50%, 70%, 100%
viii. start from i again.
b. feel the engaging of the tummy, sucking in of the belly button, while breathing and relaxed on the shoulder, then lift the left arm and get into the dancing frame. remember to keep the left side up, and right side down.
Tuesday, June 2, 2009
Standard Practice Plan -- 2 hours
1. warm up -- 5 minutes
a) swing for 2 minutes
b) waltz of foxtrot to drive for distance 3 minutes
2. Routine practice (50 minutes), at least dancing to 2 songs for each dance 1-3
a) foxtrot 15 minutes
b) waltz 15 minutes
c) quickstep 15 minutes
d) VW 5 minutes
3. Focus on a few things learnt in the last lesson. (45 minutes)
a) foxtrot: 15 minutes
heel turn especially natural heel turn
weave
b) waltz 15 minutes
whisk
double reverse spin turn
c) quickstep 15 minutes
4. Review of each dance, dancing to music. (15 minutes)
a) Foxtrot 5 minutes
b) waltz 5 minutes
c) quickstep 5 minutes
d) VW 5 minutes.
5. Summarize questions to ask for next lesson. 5 minutes (5 minutes)
a) swing for 2 minutes
b) waltz of foxtrot to drive for distance 3 minutes
2. Routine practice (50 minutes), at least dancing to 2 songs for each dance 1-3
a) foxtrot 15 minutes
b) waltz 15 minutes
c) quickstep 15 minutes
d) VW 5 minutes
3. Focus on a few things learnt in the last lesson. (45 minutes)
a) foxtrot: 15 minutes
heel turn especially natural heel turn
weave
b) waltz 15 minutes
whisk
double reverse spin turn
c) quickstep 15 minutes
4. Review of each dance, dancing to music. (15 minutes)
a) Foxtrot 5 minutes
b) waltz 5 minutes
c) quickstep 5 minutes
d) VW 5 minutes.
5. Summarize questions to ask for next lesson. 5 minutes (5 minutes)
Standard Less with Ikaika on 6/1/2009
1. Waltz,
1) whisk in waltz
a. both should keep upper body toward each other. and keep it that way, only turn the head to prominent.
b. leader's steps are going forward as well as side way, not only sideway.
c. on the chasse step, follower should turn the head back in sync with the foot in before the landing of 2.
d.
2 foxtrat
0) choreography,
feather,
reverse turn,
feather finish,
natural turn,
weave,
reverse turn (heel turn) with lilting action,
check,
weave with feather finish,
three step
1) heel turn:
a. An excercise to put the baby on the heel to feel the where of the weight of the follower is.
b. Don't rise too much on the heel turn. One should be able to do a heel turn without rising at all.
c. Don't shift weight too early, most of the turn is done on the heel of the first foot.
d. the turn is done through a sway.
2) lilt?
a. up down up down.
b. Don't stay on the check too long, the going down is for going out.
3) natural turn, leader get to the left of the follower. and get down, put the follower's weight on her heel, so that there is enough drive to come out to do the weave.
4) weave
1) whisk in waltz
a. both should keep upper body toward each other. and keep it that way, only turn the head to prominent.
b. leader's steps are going forward as well as side way, not only sideway.
c. on the chasse step, follower should turn the head back in sync with the foot in before the landing of 2.
d.
2 foxtrat
0) choreography,
feather,
reverse turn,
feather finish,
natural turn,
weave,
reverse turn (heel turn) with lilting action,
check,
weave with feather finish,
three step
1) heel turn:
a. An excercise to put the baby on the heel to feel the where of the weight of the follower is.
b. Don't rise too much on the heel turn. One should be able to do a heel turn without rising at all.
c. Don't shift weight too early, most of the turn is done on the heel of the first foot.
d. the turn is done through a sway.
2) lilt?
a. up down up down.
b. Don't stay on the check too long, the going down is for going out.
3) natural turn, leader get to the left of the follower. and get down, put the follower's weight on her heel, so that there is enough drive to come out to do the weave.
4) weave
Monday, March 2, 2009
Standard Lession with Andrea -- 03/02/3009
"The lady is a ghost dressed in beautiful gown"
"waltz is the dance of the past"
1. Swing: free movement around a fixed point, Pendulum swing and Metronomic swing
2. Sway: inclination of body, used to stop and control swing.
3. Relax: Lady react -- "wait", "listen", "feel",
Frame
Natural (1-2-3)
Reverse(1-2-3)
Spin Turn
Whisk
"waltz is the dance of the past"
1. Swing: free movement around a fixed point, Pendulum swing and Metronomic swing
2. Sway: inclination of body, used to stop and control swing.
3. Relax: Lady react -- "wait", "listen", "feel",
Frame
Natural (1-2-3)
Reverse(1-2-3)
Spin Turn
Whisk
Sunday, February 15, 2009
Standard lesson with Anton on 02/15/2008
First Lesson with Anton today, notes below are what I remembered from the lesson.
1. Natural turn (123), keep in mind where the guy's knee is.
1) remember to put the foot on the side, so that I can leave space for the man's foot/knee.
2) open the hip and let the guy pass through.
3) underturn, facing diagonal center.
4) right foot step down LOD, leaving space for the guy's right knee.
5)
6)
2. Change step
3. Reverse turn
1) do not turn yet, give the heart to the partner. pigeon toe.
2) airbass step, with left shoulder forward, but left foot back, toe pointing out. turn at the end of 2.
3)
4)
5) do not step LOD, step diagonal wall
6)
3. Double reverse spin: 1, 5, 6 of the reverse turn.
1)
4. Somewhere, there is stepping on outside of the (L) foot to help the swing.
1. Natural turn (123), keep in mind where the guy's knee is.
1) remember to put the foot on the side, so that I can leave space for the man's foot/knee.
2) open the hip and let the guy pass through.
3) underturn, facing diagonal center.
4) right foot step down LOD, leaving space for the guy's right knee.
5)
6)
2. Change step
3. Reverse turn
1) do not turn yet, give the heart to the partner. pigeon toe.
2) airbass step, with left shoulder forward, but left foot back, toe pointing out. turn at the end of 2.
3)
4)
5) do not step LOD, step diagonal wall
6)
3. Double reverse spin: 1, 5, 6 of the reverse turn.
1)
4. Somewhere, there is stepping on outside of the (L) foot to help the swing.
Tuesday, January 27, 2009
Rumba Lesson with Ryan -- 9/12/2008
- Basic
- side step in basic
- settle
- heel drops
- use leg/foot (not hip) to transfer the weight, hip is always left behind the direction we are going.
- forward step in basic
- default is always a forward walk, but at the end of it, the spine changes direction to go back.
- backward step in basic
- hip is square first
- wait for the man's lead to settle.
- then use settling to move forward (use twist to move backward).
- New Yorker
- left side shoulder(ribcage) should motivate(initiate?) the right turn.
- vise Vera: right side motivate the left turn.
- it is actually a forward/backward walk after turn?
- Spot Turn
- Intro to spot turn is the same as the new yorker
- the difference is to continue the twist into a turn in the order of the hip, leg (foot), body, and head.
- Pause on the "&" after 2 to wait for the lead to determine where the next step would be.
- Hand & hand
- turn 3/8 of a turn first
- twist and finish 1/8 of the turn.
- then settle back to arrive on 2
- fan position
- hip facing partner
- body 45' left from partner
- head 90' left from partner
- hand 135' left from partner
- open hip twist (to go into fan)
- to lead into this step, always default to a forward action
- allow the body to change direction during the twist (to turn slightly left if needed)
- hip twist is the cause of the effect, should not accent it.
- use the action (i.e. settle, twist, compression) to produce the result (arriving, turning).
- hockey stick (out from fan)
- wait for the lead of the twist and the closing of the feet.
- 2 clear directions in forward walk out from the fan position.
- (Left foot?) toward the partner
- (Right foot?) toward new direction, which is slightly left of the partner.
- treat every step with twist and settle: twist to bring the leg in, settle to move.
- balance
- arrive on the ball of the feet immediately
- twist happens when weight moves to the toe.
- from hip to the upper body, head" they move together to be over the ball of the foot. (picture illustration omitted)
Rumba Lesson with Ryan -- 9/19/2008
- weight transfer
- (Homework) Bug: in infinity sign shape. (not sure what the notes below is about)
- spine moving in a strong direction.
- constant energy
- moving ennergy
- sides of hips
- moving in same direction
- (homework) Back step: split weight, spine slowly moves back, do not get stuck at the fornt foot.
- Apply to New Yorker, hand & hand.
- NY: arm happens by rotation of the body.
- hand & hand turn
- 4: arrive on foot
- 1: sending energy forward allowing hip to twist
- &: activate the hip back to turn first, then the body.
- a: settling of the hip
- 2: arrival.
Rumba Lesson with Ryan -- 9/26/2008
- Settle: "shoulder blade" compress down to activate hip going up to move out of the way to side.
- transfer weight: "foot & spine"
- spine controls diretoin (strategic)
- stranding foot transfer weight (executes)
- twist:"knee"
- knee is the result of the twist. twist is initiated from the hip.
- bug : combine the above
- as the bug moves throught eh body it begins activating the key words above.
- rock step
- Knee, Shoulder, Spine, Foot
- This also applys to the forward step, the difference is in the direction of the spine.
- Homework: apply the concept to the figures, including the fan.
Sunday, January 18, 2009
Chacha class with Ryan -- 10/3/2008
Chacha forward Lock step
Chacha backward locks (explanation below is based on left foot behind)
- Chasse on the diagonal
- knee, shoulder, spine, foot (Using locking step with R foot in the front as an example in the following explanation)
- knee: leg that's coming under.
- Shoulder:
- Right shoulder compresses down.
- weight stays over the right foot.
- Right knee only bends because left knee comes from behind to bend it. Therefore don't drop the height too much, think of it as the back knee replacing the front knee.
- &: left shoulder: as it compresses, it straighten the right(not left?) leg.
- spine: activates
- foot: transfer the weight.
- Forward lock with Right foot in the front
- bug goes from left shoulder, right waist(work it), left waist (work it)
- three tracks.
- Chcha opens up hip more than rumba, leading to the chasse/lock step to happen naturally.
- Timing difference comparing with Samba.
- chacha <---knee -- shoulder -e - & - a- spine -- foot --> Samba:
- chacha locks happen at the &. while samba locks happen (at a). In other words, if we split the time between the shoulder movement and the spine movement to 4 part, the chacha lock would happen in the middle. while the samba timing would happen at the a. (need to double check correctness of this paragraph).
Chacha backward locks (explanation below is based on left foot behind)
- Prep step: open up left hip. ball of the left foot on the ground then move spine over.
- bug moves from Left shoulder to Left waist, to right waist (maybe...)
Group Samba class with Ryan -- 10/13/2008
- Samba bounce: the bouncing action of rising and loweriing goes through foot and knee. More specifically, the rising up goes through knee, then finish with the rising of the foot. the lowering is lowering the heel first, then the knee bend.
- Samba walk
- transfer of weight: the rising up goes through foot then knee, the down goes through knee then foot.
- twist: twist to bring the knee under
- settle: think of shoulder, ribcage.
- Samba Cruzado walks
- strighten of the knee (&)
- tilt the pelvic/hip up? (a) settle
- move the spine forward
- move the weight.
- Chest/Ribcage is open to L or R, but the shoulder is always forward.
- Samba Lock step
- Do not untwist, leave the hip open, then the lock comes naturally.
- Q: what happens after the lock? bent or strigth knee?
- Samba box step
- & a 1 a 2 a 3 a 4: rise on the &.
- 1 & a 2: & is when the two feet are collected, on the ball of both feet on a
- Spine dictates how far we moves.
- count with &, a: & = straighten of leg. a= settling of the hip.
- forgot the name of this one:
- bent front knee, 10% weight on front foot.
- straighten of the knee.
- move front foot back by lifting the hip of the front side.
- bent front knee again with 10% weight as pressure.
latin class with Ryan -- 11/07/2008
- Hockey Stick
- 4: toward partener
- &
- 1: slightly toward left. i.e. changed directly slightly comparin with 4. Upper body turn left, lower body twist right.
- 2
- 3
- Back Lock Step (explanation is with respect to when left foot is behind right foot)
- Exercise: walk on the ball of the feet to be used to balancing on the ball of feet.
- open up left hip. settle right hip to go back.
- 4: use left chest to bring right foot back
- &
- 1: use right hip (and foot?) to push back the left foot
Wednesday, January 14, 2009
Latin Class with Ryan - 11/24/2008
Rumba Homework
- Being over one foot with heel up, with all the actions.
- settling, twisting,
- extending the legs
- splitting weight.
- increasing leg speed by sending leg as soon as settling happens. Settling and sending leg happens at the same time.
- connection occurs as a result of what upperbody is doing: Dance your upperbody and ensure arms are connected. (question: in step after the open hip twist, before stepping into fan position, on the two, when ensuring arm is connected, arm is connected to the hip and the ribcage that is twisted back, instead of the shoulder that stayed facing forward.)
- three key words.
- Lift
- Release: twist, settle, leg release.
- Wait: wait for the leg to know when to activate the spine, to change weight, etc.
Rumba Group class with Ryan -- 12/01/2008
- Chacha Locks:
- move spine forward.
- use back leg to propel front leg.
- Rumba cucuracha
- Ring
- Shoulder press down?
- press from the foot to the diagonal shoulder (the bug moves from the foot to the shoulder)
- Exercise: 2.3.4.1.2.3.4.1(this is one side of cucuracha) 2.3.4.1(change weight)
Rumba Group class with Ryan -- 12/08/2008
Sliding door -- hip twist
- hip twist started with the weight lifted.
- the position at the end of the hip twist
- Left foot face left 45' to 90' degree to indicate the direction of the next step.
- Right root and knew is facing front.
- left hip tries to open the the back. This crests a large triangle on the right leg to show the lines.
- The step after the hip twist.
- straighten knee, extend right foot, settling
- get on to right foot, heel remained up.
- settle right hip to get onto left foot
- This step is a delayed step. The weight does not move to the right leg until the & after 1. So the heal of the right step never put weight on the ground
- two options after hip twist: cucuracha or forward turn. Cucuracha would be split weight. forward turn would commit the weight to the left foot. the direction of the step is a matter of choice. It can be diagonal or sideway.
Tuesday, January 13, 2009
Rumba/Samba Lesson with Ryan -- 12/15/2008
- Cucuracha
- a. Down to the foot (settle & then rotate)
b. use foot to neural. Finish using foot to arrive over the other foot. (Heels stay down here because we are not going ot move from the other foot).
c. go through neural. now use supporting leg to transfer weight from the toe to the oppersite shoulder(chest).
d. (4) continute strech up and over sholder to rotate to bring leg in.
e. (&) continue to twist
f. (1) two straigh legs, heels up.
g. (&) settle from up and over shoulder (let extends)
h. (a) hip rotates as heel lowers. (lowest point) - forward walks
- a) complete rotation?
- b) settle to the group while streching forward and move over to the foot.
- backward walks
- rotate ("strong" twist, triangle)?
- settle -- leg first until knees touch. Spine slowly begins to move.
- Supporting leg transfer weight.
- no sliding of foot on the floor, unless we are changing directions.
- Samba
- Walks with Locks
- (see 2a, i.e. complete rotation in rumba forward walk) + straighten knee, heel up.
- (see 2b, i.e. settling in rumba foward walk) + as heel lowers, knee bents hip twist.
- (same action as in chacha) put first and third step on bent knee and second step (locking step) has two stright legs.
Samba lesson from Ryan -- 01/02/2009
1. Whisk
2. Samba Basic
3. Boto fogo
4. Volta
1 --
& -- rise
a -- settle
2 --
Notes:
1. Commit weight to the ball of the front foot in botofogo. With hip open and stretch.
2. There are 3 basic elements in samba. What are they?
3. Volta has 2 settles. It is the second one that is more important. How is this related to the emphasis on hip movement for girls?
4. Ribcage movement in Volta
2. Samba Basic
3. Boto fogo
4. Volta
1 --
& -- rise
a -- settle
2 --
Notes:
1. Commit weight to the ball of the front foot in botofogo. With hip open and stretch.
2. There are 3 basic elements in samba. What are they?
3. Volta has 2 settles. It is the second one that is more important. How is this related to the emphasis on hip movement for girls?
4. Ribcage movement in Volta
Sunday, January 11, 2009
Preface and Acknowlegement
This is a blog to keep my dancing notes.
Credit goes to those who taught me.
Errors are entirely on my part.
Read it at your own risk.
Credit goes to those who taught me.
Errors are entirely on my part.
Read it at your own risk.
Jive Lesson from Ryan -- 2009/01/08
- Flicks
- Footwork
- (a) Heels up, leg straight.
- (1) Heels down, leg straight !!!
- (a) Heels up, leg straight.
- (2) heels up, legs bend.
- Leg Action
- (a) prep
- (1) strike
- (a) rebound
- (2) replace weigh
- From tailbone to head, slightly shift (tilt?) spine diagonally forward.
- on 4.(2), skipping action = place weight on ball of foot, as you straighten your leg, begin to move your spine slightly back.
- on the (a) (1) (a) , keep weight over the ball of the standing leg.
- Basics
- rock step
- (a) -- leg action 3: rebound. Footwork(1 or 3): heels up, leg straight.
- (1) -- footwork 4: heels up, legs bend, + footwork of a samba whisk.
- (a) -- keeping weight on standing leg. Transfer weight from ball to hip. with the same thing as in foot works 3 (Heels up, leg straight). -- not sure what this means....
- (2) -- foorwork 4: (i.e. heels up, leg bend). Action = replacing weight. -- need to look through this again.
- (a) -- skipping
- chasse
- (1) -- side step. weight over moving leg, heel up, standing leg heel down?
- (a) -- drag standing leg in (same foot)
- (2) -- same as 1 above.
- (a) -- skipping.
- Change Places (Right to Left) (Left to Right)
- Same action of a chasse except that as the skipping action is created my upper body moves into(L to R) or away(R to L) from standing leg.
- Exercise
- Flicks: practice footwork and leg action separately ant then together.
- Basics: practice rock step and chasse as separate element then together.
- Change places: progress from 1/4 to full turn, then back to 1/4 again for both right and left turns.
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