Time: 1:15pm.
Attendee: Sharron.
Today is the last lesson with Ikaika before I move to New York. We addressed a few questions that I have
1. Tumble turn to Oversway: My problem was that I was falling out of the right side. He told me to rotate my body around the spine, instead of rotating it as a whole piece. he also told me on the throw away oversway, to get over to the my right foot and sway while turning,
2. An exercise for the hemstring: step up and down, forward and backward the stair, engaging the hemstring muscle.
3. Sway:
4. We also worked on the Watlz open natural step. Not really sure what we are talking about there. But I think we talked about using different body parts, not locking up any joints.
Then we bared farewell, and pretended that I will be back to my lessons soon...
Wednesday, December 22, 2010
workshop by Luca Barrichi
I attended two work shops by Luca barrichi last week.
The first workshop was held at Premier, with 100+ people attending. He talked about picking a feeling for the dance, and dance it into the dancing. He mentioned that the feeling of foxtrat as hot, sexy.
The second workshop was a small group class at Dance Boulyvard. Here he explained a couple things.
1. the body is not one single piece, it is made of multiple pieces. Feel free. All actions are initiated from the center, where the Qi resides.
2. head is always between the two feet, on balance, and remain there while the body parts shift around. Try putting a finger on top of the head and do the feather step. (i.e., don't let the head fall out of the base)
3.
The first workshop was held at Premier, with 100+ people attending. He talked about picking a feeling for the dance, and dance it into the dancing. He mentioned that the feeling of foxtrat as hot, sexy.
The second workshop was a small group class at Dance Boulyvard. Here he explained a couple things.
1. the body is not one single piece, it is made of multiple pieces. Feel free. All actions are initiated from the center, where the Qi resides.
2. head is always between the two feet, on balance, and remain there while the body parts shift around. Try putting a finger on top of the head and do the feather step. (i.e., don't let the head fall out of the base)
3.
Friday, December 17, 2010
Dance Lesson with Ikaika on 12/15/2010
Attendee: Sharron
We watched the competition video. Then we worked on Foxtrot. Feather step. I think we've worked on this before, but I still don't think I get it. Some random things I remembered.
1. try to let the partner pass me, but block him
2. try to create a crease at the thigh,
3.
We watched the competition video. Then we worked on Foxtrot. Feather step. I think we've worked on this before, but I still don't think I get it. Some random things I remembered.
1. try to let the partner pass me, but block him
2. try to create a crease at the thigh,
3.
Monday, December 13, 2010
Holiday Dance Classic 2010 (Las Vegas)
This weekend, I went to the Holiday Dance Classic Competition at Las Vegas. Ikaika and I danced in the Pro/Am Open gold category (Age group A1) single dances, and then The Open Championship Scholarship event (Age group A).
In the single dances, I placed 3rd in Tango, and Foxtrot, 2nd in VW. In the scholarship event, I didn't make it to the final.
Watching the videos, a very obvious problem is that my right side, my right elbow is behind my right shoulder. Another problem I have remembered is that I was almost flying out of the turnings during VW, so I was squeezing really really hard with my left hand to hold on.
score sheet at
http://www.youth-dancesport.com/holiday2010/HDC2010_CategoryResults.htm
In the single dances, I placed 3rd in Tango, and Foxtrot, 2nd in VW. In the scholarship event, I didn't make it to the final.
Watching the videos, a very obvious problem is that my right side, my right elbow is behind my right shoulder. Another problem I have remembered is that I was almost flying out of the turnings during VW, so I was squeezing really really hard with my left hand to hold on.
score sheet at
http://www.youth-dancesport.com/holiday2010/HDC2010_CategoryResults.htm
Saturday, December 11, 2010
standard lesson with Ikaika on 12/10/2010
Attendee: Sharron
Time: 1:15pm
Today we did rounds mostly. I stil have trouble on quickstep routine, sometimes forgetting the routine, most of the time not fast enough. Basically I need to really really focus to be able to get it right. Foxtrat routine also have glitches at the end where I'm doing a same foot lounge kinda of a thing. This is the last rounds before the competition on Saturady, it is a bit worrisome, but... whatever will be will be I guess. Last year at this competition, I won Bronze scholarship. Now one year later, I've jumped over silver level and made it to Open! This is amazing no matter what. I've basically accomplished all goals that I've set up for myself in this past one year. This weekend, all I'm going to do is to focus, have fun and enjoy myself.
On a different note, Ikaika talked about some very valuable point at this lesson:
1. Visualization. Visualizing myself dancing at the competition, every figure, every step, hair, makeup, lighting, every detail of the dancing. I think this is actually a powerful technique.
2. Focus. Getting into the mood, feel only the music, the floor, the dancing, the partner. Filter everything else out. He said that he know shat it is in me somewhere, I just need to dig it out, get into the mode, at every competition, and every practice! I think this will change many of my mediocre practices into the high quality practices.
Monday, December 6, 2010
Standard Lesson with Ikaika 12/06/2010
Attendee: Sharron
Haven't written here for a while. Today we had a supurb lesson, where we talked about the finer parts of the dancing which interpretates the melody, in addition to the timing. It is an amazing feeling. I think this is the real reason that I like dancing. This is the reason that I spend hours and hours and tens of thousands of dollars trying to achieve. This fleeting feeling of real dancing, communicating.
We actually talked about this in the tango routine.
And this reminds of something else that he has mentioned to me before. To open my senses, to pay full attention to my partner, to read and feel every little detail that he is trying to do, to ask me to do, and respond to that. I think this requires 100% attention from me right now, but it also gives us the chance to communicate in a very deep, refined way. Such level of understanding/communication is intoxicating. The feeling of being able to understand and being understood provides enormous satisfaction. On the metaphoric level, isn't that all one can hope for in a relationship with another human being? To understand and be understood.
Haven't written here for a while. Today we had a supurb lesson, where we talked about the finer parts of the dancing which interpretates the melody, in addition to the timing. It is an amazing feeling. I think this is the real reason that I like dancing. This is the reason that I spend hours and hours and tens of thousands of dollars trying to achieve. This fleeting feeling of real dancing, communicating.
We actually talked about this in the tango routine.
And this reminds of something else that he has mentioned to me before. To open my senses, to pay full attention to my partner, to read and feel every little detail that he is trying to do, to ask me to do, and respond to that. I think this requires 100% attention from me right now, but it also gives us the chance to communicate in a very deep, refined way. Such level of understanding/communication is intoxicating. The feeling of being able to understand and being understood provides enormous satisfaction. On the metaphoric level, isn't that all one can hope for in a relationship with another human being? To understand and be understood.
Thursday, November 11, 2010
Standard Lessons with Ikaika on 11/10/2010
Attendee: Sharron
Today we worked on foxtrot.
1. On natural turn, at the end of the heel turn, need to turn the upper body as well, toward the partner, to prepare for the outside partner step next. This is similar to the end of the waltz running spin turn step, where it goes to outside partner in the next step as well. He definitely has told me about this many many times. But finally today I feel that I really get it and was able to produce it.
2. Swing in feather step. This one is a little frustrating. It is a subject that we have definitely spent many lessons on before, but I still don’t think I’m really getting it. Words that were said, include the following: I need to consciously let the partner pass, I need to swing my right hip, which should lead to the swing of the upper body into the left space (my space),
Today we worked on foxtrot.
1. On natural turn, at the end of the heel turn, need to turn the upper body as well, toward the partner, to prepare for the outside partner step next. This is similar to the end of the waltz running spin turn step, where it goes to outside partner in the next step as well. He definitely has told me about this many many times. But finally today I feel that I really get it and was able to produce it.
2. Swing in feather step. This one is a little frustrating. It is a subject that we have definitely spent many lessons on before, but I still don’t think I’m really getting it. Words that were said, include the following: I need to consciously let the partner pass, I need to swing my right hip, which should lead to the swing of the upper body into the left space (my space),
Standard Lessons with Ikaika on 11/9/2010
Attendee: Sharron and Daniel
Today we covered 3 subjects.
1. Waltz, from outside spin to open natural: Sharron is in the inside of the turn, need to let Daniel pass
2. Foxtrot, Weave from promenade: The steps curve to the left from the beginning. Think of the standing leg/knee curving to the left, not the moving leg. And on the turning step, Sharron need to make sure not to rush to leave, get the weight on the right leg before leave.
3. Tango Link: ? maybe we talked about this last time.
4. Turning lock: I was complaining that Daniel pulled me off balance by shift his right arm in the last part when we are turning into promenade. Complain sustained.
Today we covered 3 subjects.
1. Waltz, from outside spin to open natural: Sharron is in the inside of the turn, need to let Daniel pass
2. Foxtrot, Weave from promenade: The steps curve to the left from the beginning. Think of the standing leg/knee curving to the left, not the moving leg. And on the turning step, Sharron need to make sure not to rush to leave, get the weight on the right leg before leave.
3. Tango Link: ? maybe we talked about this last time.
4. Turning lock: I was complaining that Daniel pulled me off balance by shift his right arm in the last part when we are turning into promenade. Complain sustained.
Monday, November 8, 2010
Standard Lesson with Ikaika on 11/8/2010
Attendee: Sharron
Last week we worked on Waltz swing a lot. So continued a little with a review on waltz:
1. Swing: 1 is split weight, start rising on the & after the 1, i.e. rise as shifting weight from the split weight position.
2. Regarding a question yesterday about the 3 from open natural to the outside spin: from the open natural to the outside spin, split weight on 3 , on & lower onto the heel of the left foot, then drive forward from the back of the foot. It is not receiving the weight to the ball of the foot directly, then move it back to the heel.
Tango: A lot of emphasize on using the foot/leg to move, not the upper body. This indeed made me feel more stable, instead of sliding around on the floor.
Sunday, November 7, 2010
Standard lesson with Ikaika 11/5/2010
Attendee: Sharron
We have mostly worked on Waltz this week.
1. use standing leg more: this is emphasized a lot. When on the inside of the turn (natural turn, second part of the spin turn, etc), use the standing leg while monitoring the turning rate of the partner.
2. move in the direction of the standing foot. This is particularly important in the turning figures, such as running spin turn, weave, do not worry about turning too much, just move in the direction of where the standing foot is pointing to, while keep the weight toward the partner at the same time.
3. Keep both side of the hip toward the partner, along with the correct positioning of the right elbow, directed from the tilt of the leader's left hand, should feel like coming from under to fit in with the partner.
4. Swing: In watlz, during the step open natural followed by outside spin turn. He explained that 1 is the at split weigh position, then after that, the heel of the left foot (the back foot) lift up to start the rise, and pushing forward.
We have mostly worked on Waltz this week.
1. use standing leg more: this is emphasized a lot. When on the inside of the turn (natural turn, second part of the spin turn, etc), use the standing leg while monitoring the turning rate of the partner.
2. move in the direction of the standing foot. This is particularly important in the turning figures, such as running spin turn, weave, do not worry about turning too much, just move in the direction of where the standing foot is pointing to, while keep the weight toward the partner at the same time.
3. Keep both side of the hip toward the partner, along with the correct positioning of the right elbow, directed from the tilt of the leader's left hand, should feel like coming from under to fit in with the partner.
4. Swing: In watlz, during the step open natural followed by outside spin turn. He explained that 1 is the at split weigh position, then after that, the heel of the left foot (the back foot) lift up to start the rise, and pushing forward.
Thursday, October 28, 2010
Standard Workshop by Andrew Sinkinson on 10/28/2010
Teacher: Andrew Sinkinson
He taught a Foxtrot workshop today at Imperial, and a tango/Waltz workshop at Stanford yesterday.
The workshop at Stanford was a real surprise. Apparently Andrea Faracci just picked him up from the airport before heading over to Stanford teaching his class. Andrew said he's bored, and would like to teach. So Stanford team got a 2 hour lesson from a former world champion for free! He was shorter than I expected. A bit of a beer belly made him a little older than I thought of him would be. But he was 46 after all. He was very humble, and conveyed his intention to give to the university by teaching the class. I am not sure if the Stanford crowd impressed him very much though.
Unfortunately, I wasn't in the right state of mind to absorb all the information he said, so the Stanford lecture was a little bit too abstract and over the top for me. But since he's changing the subject to Foxtrot today, I decided to come again. And that was a good decision. The message in the lesson today is much more clear to me. I think it is partly due to some of information are repeated from yesterday, so I got a second chance to grasp it.
1. Posture: leader has 4 point to remember for the posture:
a. stand up straight.
b. pitch forward
c. pick up arm, 90 degree, 45 degree (left lower arm).
d. head up, head left.
After the girl comes in, fit in the right position, he dropped the arm, breath out, then pick up again.
A good posture should be balanced, has space, and visually not stressed.
Then we start the study of Foxtrot based on a golden combination:
feather, reverse, feather finish, three step, reverse, impetus.
1. balance: an exercise is to pause at the second quick, Keep weight TOWARD the front foot, regardless you are going forward or backward.
2. motion: Picture foxtrot as an elongated swing/sway. count of each dance affects who it should be danced: foxtrot count is rubato (Italian stolen time) . He made sounds like "chi, chi, chi, chi...." to indicate the bit catching up. So the dancing need to convey this motion. In particular from 4 to 1, this is where they are hooked up.
In contrast, Tango counting is staccato, and Waltz counting is emphasizing one. VW only emphasize 123, 456 is really quiet. Quickstep is light. He counted the & count in W,T an R.
3. Connection: He mentioned that the bumping is due to timing not right, bumping in leg is due to posture. Exercise: moving together with connection. with small general dancing hold, with palm to palm, with no hand hold, and with Man's right arm straight out, and girl's hands pushed against man's arm.
4. movement: Move from center. There is no moving if not moving from the center. feather step is man driving, feather finish lady drive, them three step man drive etc...
5. A lady asked a question on the heel turn, where she felt that she's loosing connection with her partner. Andrew said a point to stop and check is at the second quick, where both has their weight toward forward (not on the forward foot, but toward forward). He also mentioned a changed timing of SS&, instead of the standard SQQ.
Finally some quick notes from the Tango lecture yesterday.
1. leader's upper body turn slightly left (about 45 degree).
2. use wind up to create the sharp feeling in tango.
He taught a Foxtrot workshop today at Imperial, and a tango/Waltz workshop at Stanford yesterday.
The workshop at Stanford was a real surprise. Apparently Andrea Faracci just picked him up from the airport before heading over to Stanford teaching his class. Andrew said he's bored, and would like to teach. So Stanford team got a 2 hour lesson from a former world champion for free! He was shorter than I expected. A bit of a beer belly made him a little older than I thought of him would be. But he was 46 after all. He was very humble, and conveyed his intention to give to the university by teaching the class. I am not sure if the Stanford crowd impressed him very much though.
Unfortunately, I wasn't in the right state of mind to absorb all the information he said, so the Stanford lecture was a little bit too abstract and over the top for me. But since he's changing the subject to Foxtrot today, I decided to come again. And that was a good decision. The message in the lesson today is much more clear to me. I think it is partly due to some of information are repeated from yesterday, so I got a second chance to grasp it.
1. Posture: leader has 4 point to remember for the posture:
a. stand up straight.
b. pitch forward
c. pick up arm, 90 degree, 45 degree (left lower arm).
d. head up, head left.
After the girl comes in, fit in the right position, he dropped the arm, breath out, then pick up again.
A good posture should be balanced, has space, and visually not stressed.
Then we start the study of Foxtrot based on a golden combination:
feather, reverse, feather finish, three step, reverse, impetus.
1. balance: an exercise is to pause at the second quick, Keep weight TOWARD the front foot, regardless you are going forward or backward.
2. motion: Picture foxtrot as an elongated swing/sway. count of each dance affects who it should be danced: foxtrot count is rubato (Italian stolen time) . He made sounds like "chi, chi, chi, chi...." to indicate the bit catching up. So the dancing need to convey this motion. In particular from 4 to 1, this is where they are hooked up.
In contrast, Tango counting is staccato, and Waltz counting is emphasizing one. VW only emphasize 123, 456 is really quiet. Quickstep is light. He counted the & count in W,T an R.
3. Connection: He mentioned that the bumping is due to timing not right, bumping in leg is due to posture. Exercise: moving together with connection. with small general dancing hold, with palm to palm, with no hand hold, and with Man's right arm straight out, and girl's hands pushed against man's arm.
4. movement: Move from center. There is no moving if not moving from the center. feather step is man driving, feather finish lady drive, them three step man drive etc...
5. A lady asked a question on the heel turn, where she felt that she's loosing connection with her partner. Andrew said a point to stop and check is at the second quick, where both has their weight toward forward (not on the forward foot, but toward forward). He also mentioned a changed timing of SS&, instead of the standard SQQ.
Finally some quick notes from the Tango lecture yesterday.
1. leader's upper body turn slightly left (about 45 degree).
2. use wind up to create the sharp feeling in tango.
Wednesday, October 27, 2010
Standard Lesson with Ikaika on 10/26/2010
Attendee: Sharron
Today we worked on foxtrat?
1. Reveiwed the exerceise with teraband. Use the two side to represent two sides of the body. and use it as resistance to stretch against.
2. the CBM in the feather step to let the partner pass, while still keep forward to the partner, not simply leave.
3. In the weave position (out side partner), need to feel a stretch of the left shoulder to right hip. It should feel like a vector starting from right hip, aiming at left shoulder to keep in my left space.
4. Basically I think he needs bigger shape from me. From his view, I lost my shape before finishing the prep step, therefore wonder into his space. He would like me to keep the original shape I had when started. My understanding is not necessary to keep exactly the same untimately because I do think this is actually a low point of the shape, but maybe my lowpoint is too low, so I need to stretch as well here. Or that I need to stretch everywhere so that I can proceed to have bigger and bigger shape as time passes.
5. I didn't feel that I was doing well in the class, but later when Daniel came, and we were practicing together, I felt better in rolling throught my feet, and in shaping, so it was a very nice practice. I felt much more stable.
Today we worked on foxtrat?
1. Reveiwed the exerceise with teraband. Use the two side to represent two sides of the body. and use it as resistance to stretch against.
2. the CBM in the feather step to let the partner pass, while still keep forward to the partner, not simply leave.
3. In the weave position (out side partner), need to feel a stretch of the left shoulder to right hip. It should feel like a vector starting from right hip, aiming at left shoulder to keep in my left space.
4. Basically I think he needs bigger shape from me. From his view, I lost my shape before finishing the prep step, therefore wonder into his space. He would like me to keep the original shape I had when started. My understanding is not necessary to keep exactly the same untimately because I do think this is actually a low point of the shape, but maybe my lowpoint is too low, so I need to stretch as well here. Or that I need to stretch everywhere so that I can proceed to have bigger and bigger shape as time passes.
5. I didn't feel that I was doing well in the class, but later when Daniel came, and we were practicing together, I felt better in rolling throught my feet, and in shaping, so it was a very nice practice. I felt much more stable.
Monday, October 25, 2010
Standard Lesson with Ikaika on 10/25/2010
Attendee: Sharron
Today we worked on Waltz again. a few points.
1. Need to let the center of gravity travel over the standing foot.
2. Shaping of upper body needs to be initiated from the lower body,
3. Shaping include the back on the left side, below shoulder blade, should have a feeling of wrapping forward and slightly downward.
4. Timing of the running spin turn, wait for the rise of the leader before I rise.
5. On the left whisk, Think about moving forward, not around. and don't put the heel of the left foot down too early.
6. Also stated again that we must keep the weight on the foot, there is no room for error there.
7. Need to relax the shoulder/arm down. Need to teraband exercise for that.
8. Also got a new exercise on shifting weight from one left to the other, just bend the knee/ankle of the leg that we want to shift weight onto.
Today we worked on Waltz again. a few points.
1. Need to let the center of gravity travel over the standing foot.
2. Shaping of upper body needs to be initiated from the lower body,
3. Shaping include the back on the left side, below shoulder blade, should have a feeling of wrapping forward and slightly downward.
4. Timing of the running spin turn, wait for the rise of the leader before I rise.
5. On the left whisk, Think about moving forward, not around. and don't put the heel of the left foot down too early.
6. Also stated again that we must keep the weight on the foot, there is no room for error there.
7. Need to relax the shoulder/arm down. Need to teraband exercise for that.
8. Also got a new exercise on shifting weight from one left to the other, just bend the knee/ankle of the leg that we want to shift weight onto.
Standard Lesson with Ikaika 10/22/2010
Attendee: Sharron
We worked on tango today.
Some random things that I still remembered:
1. We worked on the part after the same foot lounge.
2.
We worked on tango today.
Some random things that I still remembered:
1. We worked on the part after the same foot lounge.
2.
Wednesday, October 20, 2010
Standard Lesson with Ikaika on 10/20/2010
Attendee: Sharron Ji
We did foxtrot today.
1. When going backwards, don't drop the heel of the standing leg until the moving leg has already passed the standing leg, think of going backwards as running backwards, you don't let your heel down.
2. Worked on the three fallaways (a simplified version with two weave steps in between): on the second one, the crossing behind is a small step, to allow getting around each other?
3.
We did foxtrot today.
1. When going backwards, don't drop the heel of the standing leg until the moving leg has already passed the standing leg, think of going backwards as running backwards, you don't let your heel down.
2. Worked on the three fallaways (a simplified version with two weave steps in between): on the second one, the crossing behind is a small step, to allow getting around each other?
3.
Standard lesson with Ikaika on 10/19/2010
Attendee: Sharron and Daniel.
We went over the tango routine for Daniel today.
We went over the tango routine for Daniel today.
Standard lesson with Ikaika 10/14/2010
Attendee:Sharron and Daniel.
In the steps going back, Sharron need to flex the back knee to receive and make space for the leader to come through. This was explained in the context of foxtrot feather step.
In the steps going back, Sharron need to flex the back knee to receive and make space for the leader to come through. This was explained in the context of foxtrot feather step.
Wednesday, October 13, 2010
standard lesson with Ikaika 10/13/2010
attendee: Sharron
Today we worked on tango, especially the timing of things.
1. the swivel steps needs to be fast.
2. the step out from same foot lounge is &QQ&S
3. the slow step in the reverse turn is arriving on the slow.
Today we worked on tango, especially the timing of things.
1. the swivel steps needs to be fast.
2. the step out from same foot lounge is &QQ&S
3. the slow step in the reverse turn is arriving on the slow.
Monday, October 11, 2010
Standard Lesson with Ikaika 10/11/2010
Attendee: Sharron
Coming back from a week of break.
we talked about the left turning figures (left for the leader). how I should
Coming back from a week of break.
we talked about the left turning figures (left for the leader). how I should
Sunday, October 3, 2010
Standard Lesson with Ikaika on 2010/10/02
Attendee: Sharron Ji and Daniel
Today we worked on questions we had three different figures.
1. weave from proimenade position in Foxtrat, and the fall away slip pivot after it.
at the first step from the prominade position, shift the weight to curve the step. Make use of the right sway (left sway for the gentleman) when coming out of the second step.
2. Tumble turn and throw away over sway
the first half o the tumble turn is like a feather finish, and Sharron needs to turn the head when feeling the pressure of the foot on the last step of the feather finish trippled up to the head.
In the throw away position, remember to keep the head back in your own space, (as if someone is pulling your pony tail from behind)
3. chasse to right, to progressive lock:
Coach corrected something alignment problem that Daniel had on the chasse to right.
Today we worked on questions we had three different figures.
1. weave from proimenade position in Foxtrat, and the fall away slip pivot after it.
at the first step from the prominade position, shift the weight to curve the step. Make use of the right sway (left sway for the gentleman) when coming out of the second step.
2. Tumble turn and throw away over sway
the first half o the tumble turn is like a feather finish, and Sharron needs to turn the head when feeling the pressure of the foot on the last step of the feather finish trippled up to the head.
In the throw away position, remember to keep the head back in your own space, (as if someone is pulling your pony tail from behind)
3. chasse to right, to progressive lock:
Coach corrected something alignment problem that Daniel had on the chasse to right.
Monday, September 27, 2010
Standard Lesson with Ikaika 9/27/2010
Foxtrat Pro/Am Open routine
1. feather SQQ
2. reverse turn SQQ
3. feather finish SQQ
4. three step SQQ
5. natural turn SQQ
6. weave QQQQ
7. Reverse turn (SQQ)
7. check S
8. chasse to Right (SQQS)
9. Weave (QQQQ): 4 steps, 2 down followed by 2 up.
10. 3 step
11. Hover cross (SQQ, QQS)
12. Weave ending (QQQQ), ending backing diagonal center
13. bounce fallaway
14. reverse fallway (RLRL, 2 down followed by 2 up)
15. bounce fallaway
16. weave ending (1 2 3 4)
17 reverse turn (overturned, to end up facing down LOD of short wall)
18. 3 step
19. reverse weave
20. 3 step
21. hair pin(RLRL, 2 down followed by 2 up)
22. same foot lounge (R foot forward, rise, pivot, left foot close, down, right foot back, close position, move weight forward to left foot again, pick up right foot to left knee, kick right foot, head turn to outside?
1. feather SQQ
2. reverse turn SQQ
3. feather finish SQQ
4. three step SQQ
5. natural turn SQQ
6. weave QQQQ
7. Reverse turn (SQQ)
7. check S
8. chasse to Right (SQQS)
9. Weave (QQQQ): 4 steps, 2 down followed by 2 up.
10. 3 step
11. Hover cross (SQQ, QQS)
12. Weave ending (QQQQ), ending backing diagonal center
13. bounce fallaway
14. reverse fallway (RLRL, 2 down followed by 2 up)
15. bounce fallaway
16. weave ending (1 2 3 4)
17 reverse turn (overturned, to end up facing down LOD of short wall)
18. 3 step
19. reverse weave
20. 3 step
21. hair pin(RLRL, 2 down followed by 2 up)
22. same foot lounge (R foot forward, rise, pivot, left foot close, down, right foot back, close position, move weight forward to left foot again, pick up right foot to left knee, kick right foot, head turn to outside?
Friday, September 17, 2010
Standard Lesson with Ikaika on 9/17/2010
Today we started the open Pro/Am routine
Watlz
1. Natural 1 2 3 (from short wall)
2. running spin turn 1& 2 3.
3. progressive lock 1 & 2 3. Double check on the timing of this one.
4. close telemark (heel turn)
5. run run run (1&2)
6. slip pivot (3)
7. Natural (1 2 3)
8. spin turn (over turned)
9. turning lock to prominade 1 &2 3
10. chasse (1 2 & 3)
11. open something (1 & 2 3)
12. left whisk
13. run around, edning on promenade postion toward corner
14. open natural (1 ,2,3) toe lead on 2.
15. Outside spin (1 2 3 )
16. open natural (1 2 3)
17. outside change (end in promenade position) 1, 2,3 (beginning of short wall)
18. weave (1 2 3)
19 oepn outside chagne (1 2 3 )
20 open natural (LRL)
21 tipple chasse (1 2 &3)
22 challenge line (Timing?)
23 oversway
24 rounde
25. slip pivot without much turn
26. whisk (beginning of long wall again)
27. double lock 1& 2 &3
28. bounce fallaway (1 &2 3) timing?
29. tumble turn
30. hinge
31. same foot lounge
32. somthing like a weave, name?
33. open outside change
32. hover corte
33 close outside change
34 from beginning.
Things to pay attention to in this routine.
1. on all figures (with some exceptions), commence to rise on 2. i.e. starting to rise on the standing foot that leads into the step of 2.
In the running spin turn, this means to rise on AFTER the turn.
In the natural spin turn, this means to rise from the standing leg of 1, when moving from 1 to 2.
2. be aware of where the partner is, inside or outside of the turn. example in the progressive lock, be aware of where the partner is. one way to do this when practicing alone is to hold hands up to represent the partner, and the shaping upper body shoudl be a response to this awareness.
3. need 10 hours of practice on this alone a week. :(
Watlz
1. Natural 1 2 3 (from short wall)
2. running spin turn 1& 2 3.
3. progressive lock 1 & 2 3. Double check on the timing of this one.
4. close telemark (heel turn)
5. run run run (1&2)
6. slip pivot (3)
7. Natural (1 2 3)
8. spin turn (over turned)
9. turning lock to prominade 1 &2 3
10. chasse (1 2 & 3)
11. open something (1 & 2 3)
12. left whisk
13. run around, edning on promenade postion toward corner
14. open natural (1 ,2,3) toe lead on 2.
15. Outside spin (1 2 3 )
16. open natural (1 2 3)
17. outside change (end in promenade position) 1, 2,3 (beginning of short wall)
18. weave (1 2 3)
19 oepn outside chagne (1 2 3 )
20 open natural (LRL)
21 tipple chasse (1 2 &3)
22 challenge line (Timing?)
23 oversway
24 rounde
25. slip pivot without much turn
26. whisk (beginning of long wall again)
27. double lock 1& 2 &3
28. bounce fallaway (1 &2 3) timing?
29. tumble turn
30. hinge
31. same foot lounge
32. somthing like a weave, name?
33. open outside change
32. hover corte
33 close outside change
34 from beginning.
Things to pay attention to in this routine.
1. on all figures (with some exceptions), commence to rise on 2. i.e. starting to rise on the standing foot that leads into the step of 2.
In the running spin turn, this means to rise on AFTER the turn.
In the natural spin turn, this means to rise from the standing leg of 1, when moving from 1 to 2.
2. be aware of where the partner is, inside or outside of the turn. example in the progressive lock, be aware of where the partner is. one way to do this when practicing alone is to hold hands up to represent the partner, and the shaping upper body shoudl be a response to this awareness.
3. need 10 hours of practice on this alone a week. :(
Tuesday, September 14, 2010
Embassy Ball
We got 4th place. Not bad, considering it was a big competition with 20+ couples.
Dancing was not bad either. But the competition experience is a little... how do I say, not idea.
1. Dancing part
a. too nervous
b. messed up several places.
c. not connected to the ground.
2. The Competition part
I think I start to detest these dance competitions. Just a world of gossip. need to stay out of it. It is supposed to be a beautiful art, but somehow I feel that people are pretencious and arrangant, not necessarily toward me, but still. It makes me question why I spend my time and money on something ugly. I don't find a sense of belonging in this place. watching the IDSF Grand Slam was good, but also gives despire: I will never be that good, what's the point?
Dancing was not bad either. But the competition experience is a little... how do I say, not idea.
1. Dancing part
a. too nervous
b. messed up several places.
c. not connected to the ground.
2. The Competition part
I think I start to detest these dance competitions. Just a world of gossip. need to stay out of it. It is supposed to be a beautiful art, but somehow I feel that people are pretencious and arrangant, not necessarily toward me, but still. It makes me question why I spend my time and money on something ugly. I don't find a sense of belonging in this place. watching the IDSF Grand Slam was good, but also gives despire: I will never be that good, what's the point?
Wednesday, September 1, 2010
Standard Lesson with Catia on 8/31/2010
1. keep the right hip area to the leader,
2. stretch between the left shoulder and the right hip. Keep on doing that though out, especially at the end of the natural turn as well.
3. In spin turn, don't just turn, move forward instead. Since we have two people dancing together, we can't just turn without moving in space, we need to move around, instead of turn, and this move around is powered from the base, starting from the knee going forward.
4. In quick open reverse, Keep the right hip toward the partner, feel like pressing from the left butt toward the partner. Do the same in tumble turn, keep toward the partner.
5. throwaway over sway:
1. with right foot prepared forward,
2. step on right foot,with left foot closed.
3. stretch and shape
2. stretch between the left shoulder and the right hip. Keep on doing that though out, especially at the end of the natural turn as well.
3. In spin turn, don't just turn, move forward instead. Since we have two people dancing together, we can't just turn without moving in space, we need to move around, instead of turn, and this move around is powered from the base, starting from the knee going forward.
4. In quick open reverse, Keep the right hip toward the partner, feel like pressing from the left butt toward the partner. Do the same in tumble turn, keep toward the partner.
5. throwaway over sway:
1. with right foot prepared forward,
2. step on right foot,with left foot closed.
3. stretch and shape
Dance Lesson with Ikaia on 8/30/2010
Continue working on Natural turns.
1. CMB, left shoulder aiming for right foot, but in a vertical way, no tilting. turning around the spine.
2. In leaving for the 1, do not bend the hip back, keep hip forward,
1. CMB, left shoulder aiming for right foot, but in a vertical way, no tilting. turning around the spine.
2. In leaving for the 1, do not bend the hip back, keep hip forward,
Friday, August 27, 2010
Dance lesson with Ikaika on 8/27/2010
Attendee: Sharron
We had an amazing lesson today. It's beyond words. The power of good dancing is beyond words.
Now that I've had a glance of the essence of dancing, I can't settle for anything less. It is one of the very rare moments in life, that I know so clearly that this is something that I want. To dance with such subtly and content. This is why I wanted to dance in the first place, and why I am addicted to no end.
The two thing we were focusing on today was
1. Feel the extension/shaping coming from the foot, starting from pressing the foot, to knee, hip, one vertebrate at a time to shoulder, finally head. Before doing this though, need to feel vertical, balanced and connected to the floor.
Some people say that they think Standard is boring, not sexy, etc. That is because they have never felt this kind of movement, connection.
2. awareness: on every 10% of weight change, be aware of what is happening, and what I am trying to do. It is the awareness that the teacher is teaching. I already have the ability to do lots of the stuff, it is being aware of when to do what is the harder part. But this can be practiced alone effectively. just check every 10% of weight change, what is it that I should be doing.
3. what distinguishes the good dancers is that they look comfortable on the floor, at ease, relaxed. It's not about the grand shape etc, but that they are at home on the floor.
Then we try to put these into the waltz Natural spin turn.
1. from the prep step to 3 to the first step of natural turn. during the & before the 1, already need to think of move the left knee forward to prepare for the swing/sway of the next step. This way, it is connected to the next step, not separated.
2. from 2 to 3. rise to close the left foot.
3. At the end of the natural turn from 2 to 3 of the next step (spin turn). feel the pressure from the foot to press against the floor, then effect triple up to the knee, hip, body, one vertebrate at a time to move the head in the end.
Exercise to do at home.
1. While dancing alone, try to check where the weight and balance are, whether I am connected to the floor. then think of what to do.
2. stand on the floor, feel the internal pressure going from the bottom up.
Some notes from lesson on 8/26/2010Attendee: Sharron and Daniel
1. How does the follower figure out when and how much turn to do on the second step of the spin turn? Sharron need to monitor where the leader's right hip is.
2. On every right turning figure (such as natural turn), Sharron need the kind of shaping that is like stretching toward the left elbow. And this shaping need to come from the base, not just the shoulder. Try to applying this shaping in Waltz natural turn first, then think of applying it in the feather step of Foxtrot as well.
3. Always move from the base. The moving of the upper body is a consequence of the movement of the base. The base is the driving wheel.
We had an amazing lesson today. It's beyond words. The power of good dancing is beyond words.
Now that I've had a glance of the essence of dancing, I can't settle for anything less. It is one of the very rare moments in life, that I know so clearly that this is something that I want. To dance with such subtly and content. This is why I wanted to dance in the first place, and why I am addicted to no end.
The two thing we were focusing on today was
1. Feel the extension/shaping coming from the foot, starting from pressing the foot, to knee, hip, one vertebrate at a time to shoulder, finally head. Before doing this though, need to feel vertical, balanced and connected to the floor.
Some people say that they think Standard is boring, not sexy, etc. That is because they have never felt this kind of movement, connection.
2. awareness: on every 10% of weight change, be aware of what is happening, and what I am trying to do. It is the awareness that the teacher is teaching. I already have the ability to do lots of the stuff, it is being aware of when to do what is the harder part. But this can be practiced alone effectively. just check every 10% of weight change, what is it that I should be doing.
3. what distinguishes the good dancers is that they look comfortable on the floor, at ease, relaxed. It's not about the grand shape etc, but that they are at home on the floor.
Then we try to put these into the waltz Natural spin turn.
1. from the prep step to 3 to the first step of natural turn. during the & before the 1, already need to think of move the left knee forward to prepare for the swing/sway of the next step. This way, it is connected to the next step, not separated.
2. from 2 to 3. rise to close the left foot.
3. At the end of the natural turn from 2 to 3 of the next step (spin turn). feel the pressure from the foot to press against the floor, then effect triple up to the knee, hip, body, one vertebrate at a time to move the head in the end.
Exercise to do at home.
1. While dancing alone, try to check where the weight and balance are, whether I am connected to the floor. then think of what to do.
2. stand on the floor, feel the internal pressure going from the bottom up.
Some notes from lesson on 8/26/2010Attendee: Sharron and Daniel
1. How does the follower figure out when and how much turn to do on the second step of the spin turn? Sharron need to monitor where the leader's right hip is.
2. On every right turning figure (such as natural turn), Sharron need the kind of shaping that is like stretching toward the left elbow. And this shaping need to come from the base, not just the shoulder. Try to applying this shaping in Waltz natural turn first, then think of applying it in the feather step of Foxtrot as well.
3. Always move from the base. The moving of the upper body is a consequence of the movement of the base. The base is the driving wheel.
Wednesday, August 25, 2010
Dance Lesson with Ikaika on 8/24/2010
Attendee: Sharron, Daniel
Just got back from New York. A week without practice :(
today we worked on waltz again, natural spin turn.
1. In terms of shaping. when given an inch, take a mile. I need to respond earlier, and let the partner pass/go earlier.
2. In the shaping in the prep step, I need to stay forward on the knee/foot, but feel extending into partner's right arm to fill up the space.
3. In the first step of the natural turn, start turning from the hip joint earlier. It's an internal turn in the hip joint, don't let the hip join fall out.
4. In the step 2 of the natural turn, let the partner pass first then match the step.
5. Spin turn, in my part to get around the partner, need to step through his right side, not around, and then need to make additional more turns at the end so that we can line up correctly. Daniel need to get his balance, keep weight stack above his foot, not falling out at the end of the spin turn.
6. An exercise to shape the partner with using only the left side of the leader. Leader dose almost like the same thing as the girl while shaping: take the tummy in, have some internal turn in body, feel left shoulder blade forward and then shoulder over it as in high jump.
Below is Daniel's notes
Prep step:
1) Rotate around spine using the rib cage, not the shoulders, to create the wind-up.
2) When winding up, give Sharron more space with the right arm; also, do not enter her space with the shoulders or head.
3) Keep stomach in, shoulders down
Natural turn:
1) Delay the sway, but also try to get more rotation.
2) To create the wind-up for the spin turn, finish the natural turn normally, then get wind-up during lowering. Do not alter step 2 of Natural turn to create wind-up for spin turn.
Spin turn:
1) After 1, anchor on left foot, then make Sharron go (using hands), then follow up with her
2) We need to be right side-right side when we commit our weight over our feet, not all the time. This means we can have foot placement which may seem awkward, if it all works out by the time we commit weight. This leads us to the crazy circular-like motion where we get out of each other's way.
3) Do not go all the way up on the knee on 2 of spin turn. Keep the knee flexed.
Shaping exercise:
1) I did not really get it. What I try to do is keep stomach in, rotate shoulder slightly, but compensate with the arms so arms do not move.
Just got back from New York. A week without practice :(
today we worked on waltz again, natural spin turn.
1. In terms of shaping. when given an inch, take a mile. I need to respond earlier, and let the partner pass/go earlier.
2. In the shaping in the prep step, I need to stay forward on the knee/foot, but feel extending into partner's right arm to fill up the space.
3. In the first step of the natural turn, start turning from the hip joint earlier. It's an internal turn in the hip joint, don't let the hip join fall out.
4. In the step 2 of the natural turn, let the partner pass first then match the step.
5. Spin turn, in my part to get around the partner, need to step through his right side, not around, and then need to make additional more turns at the end so that we can line up correctly. Daniel need to get his balance, keep weight stack above his foot, not falling out at the end of the spin turn.
6. An exercise to shape the partner with using only the left side of the leader. Leader dose almost like the same thing as the girl while shaping: take the tummy in, have some internal turn in body, feel left shoulder blade forward and then shoulder over it as in high jump.
Below is Daniel's notes
Prep step:
1) Rotate around spine using the rib cage, not the shoulders, to create the wind-up.
2) When winding up, give Sharron more space with the right arm; also, do not enter her space with the shoulders or head.
3) Keep stomach in, shoulders down
Natural turn:
1) Delay the sway, but also try to get more rotation.
2) To create the wind-up for the spin turn, finish the natural turn normally, then get wind-up during lowering. Do not alter step 2 of Natural turn to create wind-up for spin turn.
Spin turn:
1) After 1, anchor on left foot, then make Sharron go (using hands), then follow up with her
2) We need to be right side-right side when we commit our weight over our feet, not all the time. This means we can have foot placement which may seem awkward, if it all works out by the time we commit weight. This leads us to the crazy circular-like motion where we get out of each other's way.
3) Do not go all the way up on the knee on 2 of spin turn. Keep the knee flexed.
Shaping exercise:
1) I did not really get it. What I try to do is keep stomach in, rotate shoulder slightly, but compensate with the arms so arms do not move.
Monday, August 16, 2010
Dance lesson with Ikaika on 8/16/2010
Attendee: Sharron
Last week we had some wonderful lessons with Ikaika, but I neglected taking notes, so a week later, I only remembered that we talked about:
1. make the spin turn travel more. Daniel's first step on the spin turn need not to curve to the extend that it's not going down line of dance.
2. he corrected the opening into prominent after the turning lock. Daniel need to let me pass first, then step forward himself, so that we line up correctly for the prominent position.
Today, we worked on
1. Throw away oversway:
a. when in the prep position, turn head right, but don't take the space of the man. Need to remember to keep the belly in. :P
b. the challenge line step, need to try to feel stepping straight through the man's right side. after landing with the right foot turned, don't try to swivel to be turned 180 degrees. Instead do something like 150, to leave some angle.
c. go forward on the shaping part, feel like a forward/upward spiral shaping that stretches the right side. forward, but not onto.
2. feather step:
a. He asked me to put my finger tip at the center of my body, right below the last rib cage, to feel the spine turning (into CBM), it needs to turn at the same speed of the body weight shifting from the front of the feet to the end.
b. Contract the back muscles (the muscles on the side of the back) to turn the body into the CBMs.
c. relax the muscle, free it, flow it, while keep the head at the same position, at feather, reverse turn, and especially at the end of the feather finish step, don't tense up with the right elbow sticking out.
3. natural wave:
after the natural turn, in preparing the next step, left the knee bent over the foot, to facilitate the preparation of the left foot. Do not shift out the right hip instead.
do the prepare, split, collect three stage exercise. On preparing the right foot forward, similarly, try to create a crease between the left leg and the left crotch, to prepare the right foot forward.
Last week we had some wonderful lessons with Ikaika, but I neglected taking notes, so a week later, I only remembered that we talked about:
1. make the spin turn travel more. Daniel's first step on the spin turn need not to curve to the extend that it's not going down line of dance.
2. he corrected the opening into prominent after the turning lock. Daniel need to let me pass first, then step forward himself, so that we line up correctly for the prominent position.
Today, we worked on
1. Throw away oversway:
a. when in the prep position, turn head right, but don't take the space of the man. Need to remember to keep the belly in. :P
b. the challenge line step, need to try to feel stepping straight through the man's right side. after landing with the right foot turned, don't try to swivel to be turned 180 degrees. Instead do something like 150, to leave some angle.
c. go forward on the shaping part, feel like a forward/upward spiral shaping that stretches the right side. forward, but not onto.
2. feather step:
a. He asked me to put my finger tip at the center of my body, right below the last rib cage, to feel the spine turning (into CBM), it needs to turn at the same speed of the body weight shifting from the front of the feet to the end.
b. Contract the back muscles (the muscles on the side of the back) to turn the body into the CBMs.
c. relax the muscle, free it, flow it, while keep the head at the same position, at feather, reverse turn, and especially at the end of the feather finish step, don't tense up with the right elbow sticking out.
3. natural wave:
after the natural turn, in preparing the next step, left the knee bent over the foot, to facilitate the preparation of the left foot. Do not shift out the right hip instead.
do the prepare, split, collect three stage exercise. On preparing the right foot forward, similarly, try to create a crease between the left leg and the left crotch, to prepare the right foot forward.
Monday, August 9, 2010
standard lesson with Ikaika 8/9/2010
Today we worked on reverse weave, mostly focused on the correct leg work
1. collect/prepare: internally feel the core part is drawing back. Just like if the leg is a stick, to have the further end of the stick to flip up forward,the closer end needs to pull back and down.
2, Extend/split weight: use the back leg joints to facilitate the shifting of the weight forward, do not lean with upper body to go forward.
3. pull to collect: If coming from raised position, need to lower early, instead of lowering only at the end. Make it a scoop, not a dump.
1. collect/prepare: internally feel the core part is drawing back. Just like if the leg is a stick, to have the further end of the stick to flip up forward,the closer end needs to pull back and down.
2, Extend/split weight: use the back leg joints to facilitate the shifting of the weight forward, do not lean with upper body to go forward.
3. pull to collect: If coming from raised position, need to lower early, instead of lowering only at the end. Make it a scoop, not a dump.
Monday, August 2, 2010
Dance lesson with Ikaika on 8/2/2010
Attendee: Sharron Ji
We talked about the ideal way to do Pro/Am first, because I mentioned that I would want to compete in Ohio Star Ball in November if possible. He said the followings are needed:
1. 4 lessons a week, and 1 hour practice every day alone.
2. Competition once a month.
3. good teacher with skills and political connections.
4. Lessons with visiting coach and judges.
5.
Today we worked on Foxtrot feather step again.
1. Timing of feather step: split weight on whole beat. 1 2(split weight) &(move the weight over) 3(split weight), ....
2. Don't skim though the surface, let the weight sink/plant into the floor. Feel like the quad muscle just below the butt weights a ton, and is sinking directly on to the foot.
3. Imagine you are using the lower body to guide the leader to shift his weight across his feet. This idea was very helpful for me to get to sink the weight into the foot, especially left foot on the first step of the feather step.
4. On the natural turn, we should do the same, use the lower body (feels like the weight changes in the leg and foot) to guide the partner to turn.
We talked about the ideal way to do Pro/Am first, because I mentioned that I would want to compete in Ohio Star Ball in November if possible. He said the followings are needed:
1. 4 lessons a week, and 1 hour practice every day alone.
2. Competition once a month.
3. good teacher with skills and political connections.
4. Lessons with visiting coach and judges.
5.
Today we worked on Foxtrot feather step again.
1. Timing of feather step: split weight on whole beat. 1 2(split weight) &(move the weight over) 3(split weight), ....
2. Don't skim though the surface, let the weight sink/plant into the floor. Feel like the quad muscle just below the butt weights a ton, and is sinking directly on to the foot.
3. Imagine you are using the lower body to guide the leader to shift his weight across his feet. This idea was very helpful for me to get to sink the weight into the foot, especially left foot on the first step of the feather step.
4. On the natural turn, we should do the same, use the lower body (feels like the weight changes in the leg and foot) to guide the partner to turn.
Sunday, July 11, 2010
Desert Classic 7/10/2010
Daniel and I danced in Novice. totally 14 couples, we got 7th in a 8 couple final.
Tuesday, July 6, 2010
Dance lesson with Ikaika on 7/5/2010
Attendee: Sharron & Daniel
A very good lesson today. We walked on Waltz, focused on the part after coming out of the throwaway oversway.
1) A general method for analyzing what went wrong and what should be done.
a. ask the direction (forward, backward?), turn( natural, reverse, who is inside of hte turn, who is outside?), position (outside partner?)
b. Daniel: try to walk the steps without the shaping to find the feeling of having the weight on the foot. (Daniel tried this on the turning chasse).
2) outside spin:
leader: backward step, inside of the turn...
3) Open Natural turns:
4) Outside partner: the question was on how to lead the outside partner position in the open natural turn. The answer was for the leader to step back diagonally right ( right means relative to the lineup of the body and foot) to create the CBMP (the foot position achieved when the moving foot is placed on or across the line of the standing foot, in front of or behind it.). We tried to apply this on the outside change step after bounce fallaway.
and the back feather step in foxtrot, both worked! More precisely, imagine the leader's right foot as a vector of (0,0) to (0,1), this step should translate this right foot vector to vector (1, -1) to (1,0).
5) second natural turn: change the shape to left, but change the shape using the floor, feel the floor going to impact the hip, don't try to shape using the shoulder. The step before it need to end almost (leader backing) down line of dance (of short wall) direction.
6) open telemark:,
a. direction: should be turned to a prominent position that is aiming toward the corner. Reverse turning step, need to
7) bounce fall away.
a. Daniel complains that Sharron pass her after the bounce fall away. Since in this step and Sharron is the inside of the turn, the trick make more of turn.
b. Sharron's head position: close to the left on the bounce step. Feel it is the floor that is making the head turn.
c. Sharron needs to keep in the left space, especially in the bounce and turn step. almost like feeling like the head is over the left hip. To make the point, Ikaika lead Sharron into a special shape to indicate where the head should be (but what is the shape's name???)
A very good lesson today. We walked on Waltz, focused on the part after coming out of the throwaway oversway.
1) A general method for analyzing what went wrong and what should be done.
a. ask the direction (forward, backward?), turn( natural, reverse, who is inside of hte turn, who is outside?), position (outside partner?)
b. Daniel: try to walk the steps without the shaping to find the feeling of having the weight on the foot. (Daniel tried this on the turning chasse).
2) outside spin:
leader: backward step, inside of the turn...
3) Open Natural turns:
4) Outside partner: the question was on how to lead the outside partner position in the open natural turn. The answer was for the leader to step back diagonally right ( right means relative to the lineup of the body and foot) to create the CBMP (the foot position achieved when the moving foot is placed on or across the line of the standing foot, in front of or behind it.). We tried to apply this on the outside change step after bounce fallaway.
and the back feather step in foxtrot, both worked! More precisely, imagine the leader's right foot as a vector of (0,0) to (0,1), this step should translate this right foot vector to vector (1, -1) to (1,0).
5) second natural turn: change the shape to left, but change the shape using the floor, feel the floor going to impact the hip, don't try to shape using the shoulder. The step before it need to end almost (leader backing) down line of dance (of short wall) direction.
6) open telemark:,
a. direction: should be turned to a prominent position that is aiming toward the corner. Reverse turning step, need to
7) bounce fall away.
a. Daniel complains that Sharron pass her after the bounce fall away. Since in this step and Sharron is the inside of the turn, the trick make more of turn.
b. Sharron's head position: close to the left on the bounce step. Feel it is the floor that is making the head turn.
c. Sharron needs to keep in the left space, especially in the bounce and turn step. almost like feeling like the head is over the left hip. To make the point, Ikaika lead Sharron into a special shape to indicate where the head should be (but what is the shape's name???)
Monday, July 5, 2010
Dance Lesson with Olya on 7/5/2010
1. Olya talked to us about hold. leader has the left elbow to right shoulder in one straight line, and right elbow forward. Follower does the same to complete the circle.
2. Connection: Be sensative to keep toward the partner, but don't press against each other.
3. Timing on waltz, Natural turn 123 for men: weight transferred over to right foot by count 1.
6. How to try to stay on the left space: don't let the right hip down, especially in the natural weave step in foxtrot.
2. Connection: Be sensative to keep toward the partner, but don't press against each other.
3. Timing on waltz, Natural turn 123 for men: weight transferred over to right foot by count 1.
6. How to try to stay on the left space: don't let the right hip down, especially in the natural weave step in foxtrot.
Thursday, July 1, 2010
standard lesson with Ikaika on 7/2/2010
Attendee: Sharron
Today we reviewed pivots and reverse wave.
1. the fallway slip pivot and then change of direction.
a. Need to remember to use every step. Think of the standing foot.
b. Need to remember to keep the upper body in the left space, while keep the right hip to the partner. especially on the pivot step. And in the change of direction step as well.
c. the weave step from prominent position need to go forward.
2. Reverse wave.
a. remember to use let the weight move from the back of the foot in forward steps.
b. Think of pushing the floor backward.
c. Outside partner step is stepping slightly to the left a bit. CBM is to help keeping the connection in the outside partner position, It is not saying to step straight forward.
3. Remember to keep the right elbow down.
Today we reviewed pivots and reverse wave.
1. the fallway slip pivot and then change of direction.
a. Need to remember to use every step. Think of the standing foot.
b. Need to remember to keep the upper body in the left space, while keep the right hip to the partner. especially on the pivot step. And in the change of direction step as well.
c. the weave step from prominent position need to go forward.
2. Reverse wave.
a. remember to use let the weight move from the back of the foot in forward steps.
b. Think of pushing the floor backward.
c. Outside partner step is stepping slightly to the left a bit. CBM is to help keeping the connection in the outside partner position, It is not saying to step straight forward.
3. Remember to keep the right elbow down.
Friday, June 25, 2010
standard Lesson with Ikaika on 6/25/2010
Attendee: Sharron and Daniel
Today we worked on foxtrot.
1. Daniel need to
a. take the belly in and stick the butt out, especially on reverse weave
b. Right arm need to stay up
c. on Natural turn, shape using the hip?
d. go smoothly, instead of attacking
2. Sharron need to
a. be active on the upper body to make bigger shape, while the energy of the shape still need to come from the floor.
b. Keep the head on the left space during the shaping to the right movements, such as the reverse turn.
Today we worked on foxtrot.
1. Daniel need to
a. take the belly in and stick the butt out, especially on reverse weave
b. Right arm need to stay up
c. on Natural turn, shape using the hip?
d. go smoothly, instead of attacking
2. Sharron need to
a. be active on the upper body to make bigger shape, while the energy of the shape still need to come from the floor.
b. Keep the head on the left space during the shaping to the right movements, such as the reverse turn.
Standard Lesson with Ikaika 6/24/2010
Attendee: Sharron & Daniel
1. We finished the rest of the quickstep routine.
2. We worked on Waltz: Ikaika was telling us to take small steps so that we can focus on the frame, I felt that when taking smaller steps I can focus on using the floor more.
1. We finished the rest of the quickstep routine.
2. We worked on Waltz: Ikaika was telling us to take small steps so that we can focus on the frame, I felt that when taking smaller steps I can focus on using the floor more.
Standard Lesson with Olya on 6/20/2010
Attendee: Sharron & Daniel
We worked on quickstep
1. tipsie
2. scattered chasse
We worked on quickstep
1. tipsie
2. scattered chasse
Friday, June 18, 2010
Standard Lesson with Ikaika on 6/18/2010
Attendee: Sharron and Daniel
Today we worked on establish a quick step routine.
1. Running right turn:
a. Natural turn (SQQ)
b. Pivot (S), like in the spin turn?
c. Foxtrat natural turn with a heel turn(SSS). The first 3 parts is called running right turn.
d. running finish (SQQ)
Long wall, short wall, then long wall.
2. natural turn(SQQ)
3. tipple chasse with a pivot at the end (SQQS)
a. pivot is on right foot for leader, left foot for follower.
4. back lock (SQQS)
8. outside change to outside partner position(SQQ)
9. prep step + quick open reverse ( SSQQ)
10. 4 quick runs (SQQQQS)
11. Tipsy (Big questions on this!)
ending backing LOD towards end of long wall.
12. Natural hesitation (SSS)
13. Sailor Shuffle (SQQ)
14. QQ
15. Step hop, step hop.
16. Scatter chasse (5 sets) finish with the last step hop. Cover short wall and new long wall.
Short Wall
17. pepper pot (Q&QQQ): chasse followed with lock.
18. natural turn (SQQ)
19. over turned spin turn(SQQ)
20. running finish (QQQQ), facing DW down new long wall at the end.
Long wall
21. 4 runs (QQQQ) with the last quick (rising slightly?) turning to have leader backing DC
22. 2 runs backward (for leader), forward for follower, toward DC.
23. Outside change to Prominent SQQ
24. weave SQQ
20. Outside change to Prominent Position. SQQ
Today we worked on establish a quick step routine.
1. Running right turn:
a. Natural turn (SQQ)
b. Pivot (S), like in the spin turn?
c. Foxtrat natural turn with a heel turn(SSS). The first 3 parts is called running right turn.
d. running finish (SQQ)
Long wall, short wall, then long wall.
2. natural turn(SQQ)
3. tipple chasse with a pivot at the end (SQQS)
a. pivot is on right foot for leader, left foot for follower.
4. back lock (SQQS)
8. outside change to outside partner position(SQQ)
9. prep step + quick open reverse ( SSQQ)
10. 4 quick runs (SQQQQS)
11. Tipsy (Big questions on this!)
ending backing LOD towards end of long wall.
12. Natural hesitation (SSS)
13. Sailor Shuffle (SQQ)
14. QQ
15. Step hop, step hop.
16. Scatter chasse (5 sets) finish with the last step hop. Cover short wall and new long wall.
Short Wall
17. pepper pot (Q&QQQ): chasse followed with lock.
18. natural turn (SQQ)
19. over turned spin turn(SQQ)
20. running finish (QQQQ), facing DW down new long wall at the end.
Long wall
21. 4 runs (QQQQ) with the last quick (rising slightly?) turning to have leader backing DC
22. 2 runs backward (for leader), forward for follower, toward DC.
23. Outside change to Prominent SQQ
24. weave SQQ
20. Outside change to Prominent Position. SQQ
Standard Lesson with Ikaika on 6/17/2010
Attendee: Sharron, Daniel
First lesson since Daniel getting back:
1. we worked on an exercise to make sure that the abs are engaged so that when we are lowering down to prepare the legs, our upper body is not tilted to the opposite direction. This exercise is on a waltz box step, but on the 3&, rather than lowering down, we rise and kick foward the leg that is going to step out in 1. We need to do this without tilitng the upper body. Then we lower down and prepare the leg. and move on.
2. We worked on the enlongating internally in the upper body to do shaping. Daniel has a question on this that he needs to ask in the next class.
3. On the natural turn in waltz, Sharron needs to remember to get her weight completely on the left foot, then use it.
4. Then we learned scatter chasse and runs in quick step.
Scattered Chasse: Slow and Slow, Quick and Quick, step hop, always shape towarding where you come from.
Runs: from prominent position, Step hop (step is on in side foot), chasse, kick out right foot in place (called the rocket step), then start running.
First lesson since Daniel getting back:
1. we worked on an exercise to make sure that the abs are engaged so that when we are lowering down to prepare the legs, our upper body is not tilted to the opposite direction. This exercise is on a waltz box step, but on the 3&, rather than lowering down, we rise and kick foward the leg that is going to step out in 1. We need to do this without tilitng the upper body. Then we lower down and prepare the leg. and move on.
2. We worked on the enlongating internally in the upper body to do shaping. Daniel has a question on this that he needs to ask in the next class.
3. On the natural turn in waltz, Sharron needs to remember to get her weight completely on the left foot, then use it.
4. Then we learned scatter chasse and runs in quick step.
Scattered Chasse: Slow and Slow, Quick and Quick, step hop, always shape towarding where you come from.
Runs: from prominent position, Step hop (step is on in side foot), chasse, kick out right foot in place (called the rocket step), then start running.
Thursday, June 10, 2010
Standard Lesson with Ikaika 6/10/2010
Attendee: Sharron
Today we continued on foxtrot.
We moved on to the reverse turn, went though the feather finished and focused on the three step.
we continued to work on sway. I asked a few questions.
1. the sway of the 2nd step in foxtrot, how should it feel. answer is like feeling the swing of right leg to the right back.
2. The heel turn need to feed planted/drilled/grounded on the ground on the right foot.
3. still need to remember to stretch to the left, but the stretch of the upper body is initiated from the lower body.
4. Need to challenge myself to do more of the sway.
5. need to remember to stay on the standing foot for longer.
6. three step: the timing of the neutralizing of the hip is similar to the timing in reverse turn.
7. remember the left side lead on the three step to keep the upper body still stretching into the left space, almost like back of head leading into left back space.
Today we continued on foxtrot.
We moved on to the reverse turn, went though the feather finished and focused on the three step.
we continued to work on sway. I asked a few questions.
1. the sway of the 2nd step in foxtrot, how should it feel. answer is like feeling the swing of right leg to the right back.
2. The heel turn need to feed planted/drilled/grounded on the ground on the right foot.
3. still need to remember to stretch to the left, but the stretch of the upper body is initiated from the lower body.
4. Need to challenge myself to do more of the sway.
5. need to remember to stay on the standing foot for longer.
6. three step: the timing of the neutralizing of the hip is similar to the timing in reverse turn.
7. remember the left side lead on the three step to keep the upper body still stretching into the left space, almost like back of head leading into left back space.
Wednesday, June 9, 2010
Standard lesson with Ikaika 6/9/2010
Attendee: Sharron
Today we worked on foxtrot. 2 things.
1. Stay on the standing leg longer, move toward the partner before going backward.
2. sway from the hip, (no. groin rather). It is a strange area to focus on really. But the feeling is trying to use that area at the origin of power for the sway, tighten the muscles there to tilt the hip bone, creating the crease between the femur and the hip bone. I think I only just understood in on the right hip on the beginning of the first step of the feather step, and the third step of the feather step. Not sure of the rest at all.
3. then we talked about neutralizing the sway on the step to the reverse turn. The initializing of the neutralizing is also from the same area. But now I'm standing on the left leg, with the right leg forward, held at a hip tilted position. Now need to level that part first to be in neutral position.
Questions remaining:
2. what to do on step 2 in feather step.
3. rest of the reverse turn?
Today we worked on foxtrot. 2 things.
1. Stay on the standing leg longer, move toward the partner before going backward.
2. sway from the hip, (no. groin rather). It is a strange area to focus on really. But the feeling is trying to use that area at the origin of power for the sway, tighten the muscles there to tilt the hip bone, creating the crease between the femur and the hip bone. I think I only just understood in on the right hip on the beginning of the first step of the feather step, and the third step of the feather step. Not sure of the rest at all.
3. then we talked about neutralizing the sway on the step to the reverse turn. The initializing of the neutralizing is also from the same area. But now I'm standing on the left leg, with the right leg forward, held at a hip tilted position. Now need to level that part first to be in neutral position.
Questions remaining:
2. what to do on step 2 in feather step.
3. rest of the reverse turn?
Friday, May 28, 2010
Standard Lesson with Ikaika 5/26/2009
Attendee: Sharron
Today was a bad day for me. I was rushing to the lesson, got all nervous and hyper when I got there, took a long time to calm down and get to the dancing mode.
We worked on the last part of the waltz routine, i.e. after coming out of slip pivot, we had chasse, back lock and back whisk. Then into weave, and chasse. etc...
we worked on the back whisk, i need to turn on the ball of my left foot, here I need to turn my foot, my knee, my hip, but NOT my top.
Then we worked on weave, which is a small disaster. on the the 2 and 3, it should be right sway?
Today was a bad day for me. I was rushing to the lesson, got all nervous and hyper when I got there, took a long time to calm down and get to the dancing mode.
We worked on the last part of the waltz routine, i.e. after coming out of slip pivot, we had chasse, back lock and back whisk. Then into weave, and chasse. etc...
we worked on the back whisk, i need to turn on the ball of my left foot, here I need to turn my foot, my knee, my hip, but NOT my top.
Then we worked on weave, which is a small disaster. on the the 2 and 3, it should be right sway?
Tuesday, May 25, 2010
Standard Lesson with Ikaika 5/25/2010
Attendee:
Today we continued on Watlz.
1. Posture and Poise.
2. coming out of the right foot lounge, need to move from front of left foot to front of the right foot, then initiate the shape of the upper body from the lower body. Go from the outside of the left foot to the outside of the right foot.
3. Chasse
a. difference between chasse and fall away. On the second step, I feel turning, on the fall away, I don't feel like turning.
b. keep in the left space, the energy for that comes from the lower body, the foot, the knee, the hip.
4. timing
chasse 12&3
running lock 12&3
fallaway 1&23
5. fall away,
a. turn the head at 1&.
b. keep to the left of the space, especially after getting back into close position. Try to do the same thing as what was done at the end of the chasse.
6. the rounde is supposed to be something goes forward, instead of trying to go side ways?? Not sure if I'm clear on this?
Today we continued on Watlz.
1. Posture and Poise.
2. coming out of the right foot lounge, need to move from front of left foot to front of the right foot, then initiate the shape of the upper body from the lower body. Go from the outside of the left foot to the outside of the right foot.
3. Chasse
a. difference between chasse and fall away. On the second step, I feel turning, on the fall away, I don't feel like turning.
b. keep in the left space, the energy for that comes from the lower body, the foot, the knee, the hip.
4. timing
chasse 12&3
running lock 12&3
fallaway 1&23
5. fall away,
a. turn the head at 1&.
b. keep to the left of the space, especially after getting back into close position. Try to do the same thing as what was done at the end of the chasse.
6. the rounde is supposed to be something goes forward, instead of trying to go side ways?? Not sure if I'm clear on this?
Friday, May 21, 2010
Standard Lesson with Ikaika 5/21/2010
Attendee: Sharron Ji
Walked on the second part of waltz today:
1. Folding at hip joint to create the sway, instead of thinking of tilting upper body to create the sway, that should be the consequence not the initiator.
2.Throwaway Oversway
a.Left foot extends out diagonally, not just straight back (or even cross right foot)
b.Shape from the hip.
c.Recover to prominent by turning or the right foot while knee was still bent.
3.Outside spin (rise to close feet)
a.Turn on the right foot.
b.Use right foot as axis. Do not let upper body try to go around on the left side.
4.Progressive Lock turn: shape left
5.Turning lock from PP: shape right
a.Hip stays with partner especially on the right foot cross front part.
6.Right foot lounge
a.Head actually stay right for quite a moment,
b.Then dance into the right lounge (i.e. head sway to left/back) from the lower body, not just bent back.
7.Check
a.Need to turn right to maximum then release back.
Walked on the second part of waltz today:
1. Folding at hip joint to create the sway, instead of thinking of tilting upper body to create the sway, that should be the consequence not the initiator.
2.Throwaway Oversway
a.Left foot extends out diagonally, not just straight back (or even cross right foot)
b.Shape from the hip.
c.Recover to prominent by turning or the right foot while knee was still bent.
3.Outside spin (rise to close feet)
a.Turn on the right foot.
b.Use right foot as axis. Do not let upper body try to go around on the left side.
4.Progressive Lock turn: shape left
5.Turning lock from PP: shape right
a.Hip stays with partner especially on the right foot cross front part.
6.Right foot lounge
a.Head actually stay right for quite a moment,
b.Then dance into the right lounge (i.e. head sway to left/back) from the lower body, not just bent back.
7.Check
a.Need to turn right to maximum then release back.
Standard lesson with Ikaika 5/20/2010
Attendee: Sharron
We first watched the video from Emerald ball.
Then we talked about joints, especially hip joint
1. basically talked about turning the folding the hip joint to create sway.
a. monitor the sway of the hip from the partner
b. Fold my own hip joint to create the sway.
2. two parallel tracks on the legs, to create the sway, one track goes down, the other goes up, Upper body is simply a response to this intention on the leg.
We first watched the video from Emerald ball.
Then we talked about joints, especially hip joint
1. basically talked about turning the folding the hip joint to create sway.
a. monitor the sway of the hip from the partner
b. Fold my own hip joint to create the sway.
2. two parallel tracks on the legs, to create the sway, one track goes down, the other goes up, Upper body is simply a response to this intention on the leg.
Tuesday, May 18, 2010
Standard Lesson with Olya on 5/18/2010
Attendee: Sharron & Daniel.
worked on Foxtrot today.
1. reverse weave
a. keep both side toward partner.
b. stretch/expend in opposite directions.
c. head turns right at the end of reverse turn, then left for three step, then right for feather.
d. On the curved three step, remember to curve from the base, the hip, not just the shoulder.
2. curved feather, hair pin, open impetus.
a. head change to right at the end of curved feather.
b. again think of going forward in both the hair pin and the open impetus
c.
worked on Foxtrot today.
1. reverse weave
a. keep both side toward partner.
b. stretch/expend in opposite directions.
c. head turns right at the end of reverse turn, then left for three step, then right for feather.
d. On the curved three step, remember to curve from the base, the hip, not just the shoulder.
2. curved feather, hair pin, open impetus.
a. head change to right at the end of curved feather.
b. again think of going forward in both the hair pin and the open impetus
c.
Friday, May 14, 2010
Standard Lesson with Ikaika on 5/14/2010
Attendee: Sharron, Daniel.
We started by Showing Ikaika our progress so far on the new open routines. It was pretty disappointing. So we focused on a few technical points
1. Process of receiving weight:
a. the weight is received through toe, ankle, knee, hip joint.
2. Left turning figures:
We started by Showing Ikaika our progress so far on the new open routines. It was pretty disappointing. So we focused on a few technical points
1. Process of receiving weight:
a. the weight is received through toe, ankle, knee, hip joint.
2. Left turning figures:
Thursday, May 13, 2010
Standard Lesson with Stephen Cullip on 5/12/2010
Date: 5/12/2010
Attendee: Sharron & Daniel
Teacher: Stephen Cullip
General principle for head position: Look at where you are going, or look at where you come from.
1. Foxtrat Reverse feather step:
a. stay low, don't rise.
b. Daniel keep upperbody forward toward partner.
c. Sharron need to keep in mind the foot work
(Men's three step: heel heel toe, men's feather step: heel toe toe)
d. Sharron need to change the head position
(left on the men's three step, right on the men's feather step)
e. Daniel needs to shape the steps. with not only sway, but also rotation.
2. double natural turn, then curved feather, then hairpin (sinchopated curved feather)
a. daniel's head positon: left in the double natural turn, nto the curved feather, turns right on the quick quick of the curved feather.
3. Foxtrat: fallway, slip pivot:
a. difference bewteen leading a fallaway vs a reverse turn (or a chasse):
fallway is going stright three steps toward diagonal center. especially the second step in the fallaway for the man is a foward step
turned into side/back step.
b. slip pivot: sharron need to keep the feet crossed.
c. slip pivot: Sharron's left foot steps toward between daniel's step, then after the pivot, it becomes on outside of daniel's right foot.
e. slip pivot: To keep in balance in the end. Daniel needs to remember not to leaning backward.
4. Waltz: the rolling lock into right foot lounge, check, then reverse pivot,
a. Rolling lock (12&3): Sharron needs to turn on the right foot before crossing the left foot in front.
Sharron needs to keep the head right till the right foot lounge
b. check to reverse pivot: Sharron keep a lazy left foot, and bring the left foot to under the left foot before stepping out,
Danile also needs to bring his foot under his body before stepping out.
5. Waltz: Open natuaral,outside spin.
a. Mainly just need to stay low.
6. Watlz: quick open reverse, tumble turn, throw way over sway.
a. Daniel: on quick open verse, get in front of Sharron, so that she won't be doing a fallaway instead.
b. tumble turn: Sharron turn her head at the end of the tumbler turn to right.
c. oversway: Sharron need to have the left foot pass by her right foot, in stead of trying to a rounde.
d. Owversway: daniel's shaping. Stay low. getting into the challenge line, look diagnal left, and keep the head there.
e. can go as low as wants, but can't stay there long, otherwise it would kill the knee.
f. Tumble turn: Daniel needs to have bigger step on 3.(like feather finish). Stay low till then.
7. Watlz: Challenge line into kick. rounde, fallaway.
a. Sharron should only kicks when Daniel shape her into it.
b.
8. back wisk:
a. Daniel need to turn to CBMP to keep shoulder toward partner.
Attendee: Sharron & Daniel
Teacher: Stephen Cullip
General principle for head position: Look at where you are going, or look at where you come from.
1. Foxtrat Reverse feather step:
a. stay low, don't rise.
b. Daniel keep upperbody forward toward partner.
c. Sharron need to keep in mind the foot work
(Men's three step: heel heel toe, men's feather step: heel toe toe)
d. Sharron need to change the head position
(left on the men's three step, right on the men's feather step)
e. Daniel needs to shape the steps. with not only sway, but also rotation.
2. double natural turn, then curved feather, then hairpin (sinchopated curved feather)
a. daniel's head positon: left in the double natural turn, nto the curved feather, turns right on the quick quick of the curved feather.
3. Foxtrat: fallway, slip pivot:
a. difference bewteen leading a fallaway vs a reverse turn (or a chasse):
fallway is going stright three steps toward diagonal center. especially the second step in the fallaway for the man is a foward step
turned into side/back step.
b. slip pivot: sharron need to keep the feet crossed.
c. slip pivot: Sharron's left foot steps toward between daniel's step, then after the pivot, it becomes on outside of daniel's right foot.
e. slip pivot: To keep in balance in the end. Daniel needs to remember not to leaning backward.
4. Waltz: the rolling lock into right foot lounge, check, then reverse pivot,
a. Rolling lock (12&3): Sharron needs to turn on the right foot before crossing the left foot in front.
Sharron needs to keep the head right till the right foot lounge
b. check to reverse pivot: Sharron keep a lazy left foot, and bring the left foot to under the left foot before stepping out,
Danile also needs to bring his foot under his body before stepping out.
5. Waltz: Open natuaral,outside spin.
a. Mainly just need to stay low.
6. Watlz: quick open reverse, tumble turn, throw way over sway.
a. Daniel: on quick open verse, get in front of Sharron, so that she won't be doing a fallaway instead.
b. tumble turn: Sharron turn her head at the end of the tumbler turn to right.
c. oversway: Sharron need to have the left foot pass by her right foot, in stead of trying to a rounde.
d. Owversway: daniel's shaping. Stay low. getting into the challenge line, look diagnal left, and keep the head there.
e. can go as low as wants, but can't stay there long, otherwise it would kill the knee.
f. Tumble turn: Daniel needs to have bigger step on 3.(like feather finish). Stay low till then.
7. Watlz: Challenge line into kick. rounde, fallaway.
a. Sharron should only kicks when Daniel shape her into it.
b.
8. back wisk:
a. Daniel need to turn to CBMP to keep shoulder toward partner.
Standard Lesson with Olya on 5/10/2010
Date: 5/10/2010
Attendee: Sharron & Daniel
Teacher: Olya
Position Frame:
connect hip first, then shape.
worked on Chasse,
1. Sharron needs to keep left, and keep toward partner with CBMP. Do not over turn.
2. On the progressive lock step, Sharron needs to use the left foot to turn. that helps to create the correct sway, and reduce the overturn that end up making the couple too square to each other.
3.
Attendee: Sharron & Daniel
Teacher: Olya
Position Frame:
connect hip first, then shape.
worked on Chasse,
1. Sharron needs to keep left, and keep toward partner with CBMP. Do not over turn.
2. On the progressive lock step, Sharron needs to use the left foot to turn. that helps to create the correct sway, and reduce the overturn that end up making the couple too square to each other.
3.
Friday, May 7, 2010
Standard Lesson with Thomas Papkala on 5/7/2010
Location: Manhattern Ballroom Dance
Attendee: Sharron
I saw katarzyna herink online yesterday, decided to ask her about coaches in NYC. She gave me the number of Frantsiska Yordanova. So I called Frantsiska and got a lesson booked with Thomas today.
This was the second time that I got to Manhattan Ballroom Dance. Fabio Selmi is teaching there. And quite a few high level dancers around. A little intimidating. So I just waited for my lesson to begin.
Thomas asked for my background first, told him I'm taking lessons from Ikaika. He then danced with me around the floor to identify problems, then the real lesson begins.
Quite a few things are touched upon in this lesson. But the following is what left the deepest impression.
1. Position:
The first criticism he gave is that my position in the partnership is too much in the front, I need to be more on the left. BIG SURPRISE :P To correct this, he suggested to do the following
a. align the hips first
b. upper body is then turned to be at an angle from the feet.
c. Relax the shoulders to allow yourself to be put into the right position. Actually, thought out the lesson he keep on telling me to relax the shoulders. Half way through the lesson, I finally asked, what do you mean I need to relax the shoulders? do you mean the shoulder is up? No he said, it is not up, but it is locked with the neck and the rest, so I can not put you into the right position. Then it made sense to me.
d. Upperbody stay in this position all the time, turn only the foot, not the upper body.
2. Don't emphasize on down swing. Think about the body going across the foot, not going down.
a. Don't use femur muscle for downswing, let gravity take its course for the downswing. use the muscles for up swing. But even then don't use the big muscle (this I don't really get)
b. He quoted Bill Irvine saying something like we don't use the big muscles on the leg to swing.
c. Use the small muscles on the feet
d. Swing/sway from the lower body, the hip etc.
3. Turning lock:
a. Again, don't bent down too much.
b. use the feet to move over to the next step and next.
4. PP to chasse: think about turning the feet, not the body. almost like turning 180 degrees, then going back. Keep the body to be at an angle to the feet, NOT squared!
Attendee: Sharron
I saw katarzyna herink online yesterday, decided to ask her about coaches in NYC. She gave me the number of Frantsiska Yordanova. So I called Frantsiska and got a lesson booked with Thomas today.
This was the second time that I got to Manhattan Ballroom Dance. Fabio Selmi is teaching there. And quite a few high level dancers around. A little intimidating. So I just waited for my lesson to begin.
Thomas asked for my background first, told him I'm taking lessons from Ikaika. He then danced with me around the floor to identify problems, then the real lesson begins.
Quite a few things are touched upon in this lesson. But the following is what left the deepest impression.
1. Position:
The first criticism he gave is that my position in the partnership is too much in the front, I need to be more on the left. BIG SURPRISE :P To correct this, he suggested to do the following
a. align the hips first
b. upper body is then turned to be at an angle from the feet.
c. Relax the shoulders to allow yourself to be put into the right position. Actually, thought out the lesson he keep on telling me to relax the shoulders. Half way through the lesson, I finally asked, what do you mean I need to relax the shoulders? do you mean the shoulder is up? No he said, it is not up, but it is locked with the neck and the rest, so I can not put you into the right position. Then it made sense to me.
d. Upperbody stay in this position all the time, turn only the foot, not the upper body.
2. Don't emphasize on down swing. Think about the body going across the foot, not going down.
a. Don't use femur muscle for downswing, let gravity take its course for the downswing. use the muscles for up swing. But even then don't use the big muscle (this I don't really get)
b. He quoted Bill Irvine saying something like we don't use the big muscles on the leg to swing.
c. Use the small muscles on the feet
d. Swing/sway from the lower body, the hip etc.
3. Turning lock:
a. Again, don't bent down too much.
b. use the feet to move over to the next step and next.
4. PP to chasse: think about turning the feet, not the body. almost like turning 180 degrees, then going back. Keep the body to be at an angle to the feet, NOT squared!
Wednesday, May 5, 2010
Standard Group Lesson with Stanley McCalla on 5/4/2010
I found out about this group lesson from DanceChalsea's website. So 7:30pm I got there. I think the lesson is only $15, but I'm not completely sure. Dancechalsea is a small studio. There are three latin couples practicing there. And the space is pretty small.
Bronze Class
The first group lesson is for Bronze level. We are given a few exercises.
1. Put hands together, push down in front and in back to keep shoulder down and
2. Learned a new practice hold position, where the follwer press against the leader. The leader hold the follower at her shoulder blades.
3. Rise up in the toes for 10 times.
4. bend down on one supporting leg, with the other foot extended forward or backward. repeat for each leg 10 times.
5. Bend down on one supporting leg, with the other foot exending side ways. then move the weight over and rise.
6. Position. Feel the left ear going toward left elbow.
Then we did a little routine:
natural turn 1-6.
change step
reverse turn 1-3
check 1-3
weave 1-3(close position)
natural turn 1-3 (outside partner)
This was an ok class. Not too much fun though since the other 4 people are really beginner, so not too much fun for me. But the exercise is good, and the check part in the routine is actually new for me.
Silver/Gold Class
This is a fun class. First of all, only me and another student is here. And this other student is Alex, who is Daniel's friend from MIT. I've met him briefly at MAC. And he is actually a good height match for me. So we get to do something fun. The class is mostly focused on the guy (as always :). But I get to dance and make shapes :)
Amalgomation 1:
natural, 1-3
quick spin and a reverse pivot? 12&3
telemark into PP 123
challenge line 123
hover corte 123 (456 if needed)
outside change (in close position)
For this one, we mostly worked on the hover corte. I keep on having problems of not knowing how far I should step on, so some times I feel my step on the challenge line is too small, so I end up back weighted at the end. But I'm not sure if it is because the guy pushed me out of balance though. Stanley said I should think about having the
Amalgomation 2:
from PP
left wisk (123)
run around the leader (12&3), ending outside partner.
outside spin (123) (RLR). Right foot step outside partner. left foot close to right foot. then pivot on left foot.
forgot the rest...
Bronze Class
The first group lesson is for Bronze level. We are given a few exercises.
1. Put hands together, push down in front and in back to keep shoulder down and
2. Learned a new practice hold position, where the follwer press against the leader. The leader hold the follower at her shoulder blades.
3. Rise up in the toes for 10 times.
4. bend down on one supporting leg, with the other foot extended forward or backward. repeat for each leg 10 times.
5. Bend down on one supporting leg, with the other foot exending side ways. then move the weight over and rise.
6. Position. Feel the left ear going toward left elbow.
Then we did a little routine:
natural turn 1-6.
change step
reverse turn 1-3
check 1-3
weave 1-3(close position)
natural turn 1-3 (outside partner)
This was an ok class. Not too much fun though since the other 4 people are really beginner, so not too much fun for me. But the exercise is good, and the check part in the routine is actually new for me.
Silver/Gold Class
This is a fun class. First of all, only me and another student is here. And this other student is Alex, who is Daniel's friend from MIT. I've met him briefly at MAC. And he is actually a good height match for me. So we get to do something fun. The class is mostly focused on the guy (as always :). But I get to dance and make shapes :)
Amalgomation 1:
natural, 1-3
quick spin and a reverse pivot? 12&3
telemark into PP 123
challenge line 123
hover corte 123 (456 if needed)
outside change (in close position)
For this one, we mostly worked on the hover corte. I keep on having problems of not knowing how far I should step on, so some times I feel my step on the challenge line is too small, so I end up back weighted at the end. But I'm not sure if it is because the guy pushed me out of balance though. Stanley said I should think about having the
Amalgomation 2:
from PP
left wisk (123)
run around the leader (12&3), ending outside partner.
outside spin (123) (RLR). Right foot step outside partner. left foot close to right foot. then pivot on left foot.
forgot the rest...
Emerald Ball 2010
I got first place in silver scholarship. Close call, but still !!!!!!
(Score sheet http://www.compmngr.com/eb2010/EB2010_ScoresheetsByPerson)
Now here are the problems I have felt during the competition, or realized when watching the video.
1. Waltz: still too close to the partner on the upper body? not big enough a shape created? Can put another Sharron between my back and Ikaika's right hand, sometimes. How do I do this while still extending up and FORWARD? And how do I keep this position without strainning my neck muscle too much? Especially on the steps that turns. For example a double reverse, sometimes feeling like my head is going to fly off to the space. (or should I be using my partner for counter balance here?)
It's a heavy head I'm carrying. :(
2. Waltz: Wing step, right foot too far away, instead of going around leader. As a result, I'm almost pulling him off balance.
3. Tango: during the competition, feels the turning of the head to PP is always strange, sometimes it feels like I turned left a bit to turn right. Especially onn 4 step, what signal I should be reading for turning my head?
4. Tango: lots of problems in the fall away step. Missed the lead lots of times.
7.Foxtrat: in telemark step, PP falling into his space.
8.Foxtrat: reverse weave, the backward three step doesn't look so hot, back weighted?
9. Foxtrat: Like the shaping on the hover cross though :)
10. QS: right arm/elbow is still too behind. especially on QS.
11. QS: neck hurts during QS, not necessarily because QS was wrong, but the stress that has been accumulated during the previous dances is felt the most here here.
12. QS: when we get to the corner, at the hesitation, I get to a relatively nice shape to the far left, but then I lost it before leaving for the heel turn step.
13. Others: my bow is not in sync with Ikaika. I'm too slow?
(Score sheet http://www.compmngr.com/eb2010/EB2010_ScoresheetsByPerson)
Now here are the problems I have felt during the competition, or realized when watching the video.
1. Waltz: still too close to the partner on the upper body? not big enough a shape created? Can put another Sharron between my back and Ikaika's right hand, sometimes. How do I do this while still extending up and FORWARD? And how do I keep this position without strainning my neck muscle too much? Especially on the steps that turns. For example a double reverse, sometimes feeling like my head is going to fly off to the space. (or should I be using my partner for counter balance here?)
It's a heavy head I'm carrying. :(
2. Waltz: Wing step, right foot too far away, instead of going around leader. As a result, I'm almost pulling him off balance.
3. Tango: during the competition, feels the turning of the head to PP is always strange, sometimes it feels like I turned left a bit to turn right. Especially onn 4 step, what signal I should be reading for turning my head?
4. Tango: lots of problems in the fall away step. Missed the lead lots of times.
7.Foxtrat: in telemark step, PP falling into his space.
8.Foxtrat: reverse weave, the backward three step doesn't look so hot, back weighted?
9. Foxtrat: Like the shaping on the hover cross though :)
10. QS: right arm/elbow is still too behind. especially on QS.
11. QS: neck hurts during QS, not necessarily because QS was wrong, but the stress that has been accumulated during the previous dances is felt the most here here.
12. QS: when we get to the corner, at the hesitation, I get to a relatively nice shape to the far left, but then I lost it before leaving for the heel turn step.
13. Others: my bow is not in sync with Ikaika. I'm too slow?
Tuesday, April 27, 2010
Standard Lesson with Olya 4/27/2010
Attendee: Sharron and Daniel
Olya first commented on our competition on Saturday. She asks Daniel to show more confidence. She asked me to not drop my right hip, I should pick up the right hip so that my upper body can stay left. She also said I should relax my shoulder and neck, put the upper body forward, not shoulder and neck.
Today we tried to work on some elements in our new Waltz routine.
1. kick to rounde, to slip pivot.
a. on the challenge line, weight is on the heel first, then move to ball to turn around to be in close position.
b. on the kick, need to lift the heel of the standing leg as well, also need to pick up the right hip toward the partner.
c. the slip pivot need to wait for the partner to turn.
2. Chasse right to quick open reverse to tumble turn to slip pivot into throwaway oversway.
a. I need to remember to keep to the left though out chasse, and quick open reverse.
b. in the tumble turn, need to use the standing leg (the left leg) to get into the tumble turn.
b. the slip pivot steps are small.
Olya first commented on our competition on Saturday. She asks Daniel to show more confidence. She asked me to not drop my right hip, I should pick up the right hip so that my upper body can stay left. She also said I should relax my shoulder and neck, put the upper body forward, not shoulder and neck.
Today we tried to work on some elements in our new Waltz routine.
1. kick to rounde, to slip pivot.
a. on the challenge line, weight is on the heel first, then move to ball to turn around to be in close position.
b. on the kick, need to lift the heel of the standing leg as well, also need to pick up the right hip toward the partner.
c. the slip pivot need to wait for the partner to turn.
2. Chasse right to quick open reverse to tumble turn to slip pivot into throwaway oversway.
a. I need to remember to keep to the left though out chasse, and quick open reverse.
b. in the tumble turn, need to use the standing leg (the left leg) to get into the tumble turn.
b. the slip pivot steps are small.
Standard Lesson with Ikaika 4/26/2010 (Waltz Routine)
Attendee: Sharron & Daniel,
We got our brand new open routine in waltz!!! How exciting!!!
Would be a lot to work on though...
Starting diagonal wall, at the end of the short wall:
natural turn 123
spin turn 456
turning lock 1&23 (opened to promenade, already DC on the long wall)
chasee to left (12&3)
quick open reverse (12&3)
tumble turn (12&3)
throw away over sway(123 456)
recover to prominent (123, step out on 3)
open natural turn (123),
outside spin (1 2 3) sharron turns on the right foot, left foot close to right foot.
open natural turn (123)
progressive lock step/turn) (123&) ( Viennese cross, sharron goes arround the left of Daniel).
open telemark (123)
turning lock from PP (12&3)
right foot lounge (123)
recover (12)
slip pivot (3)
chasse right(12&3)
progresslock step/turn(123&)
fall away(123)
chasse right(12&3)
outside change to PP(123)
challenge line (12)
kick thing (3)
rounde slip pivot(123)
chasse right(12&3)
back lock(12&3)
back wisk(123)
weave from PP (123)
outside change (123)
chasse (optional)
back beginning.
We got our brand new open routine in waltz!!! How exciting!!!
Would be a lot to work on though...
Starting diagonal wall, at the end of the short wall:
natural turn 123
spin turn 456
turning lock 1&23 (opened to promenade, already DC on the long wall)
chasee to left (12&3)
quick open reverse (12&3)
tumble turn (12&3)
throw away over sway(123 456)
recover to prominent (123, step out on 3)
open natural turn (123),
outside spin (1 2 3) sharron turns on the right foot, left foot close to right foot.
open natural turn (123)
progressive lock step/turn) (123&) ( Viennese cross, sharron goes arround the left of Daniel).
open telemark (123)
turning lock from PP (12&3)
right foot lounge (123)
recover (12)
slip pivot (3)
chasse right(12&3)
progresslock step/turn(123&)
fall away(123)
chasse right(12&3)
outside change to PP(123)
challenge line (12)
kick thing (3)
rounde slip pivot(123)
chasse right(12&3)
back lock(12&3)
back wisk(123)
weave from PP (123)
outside change (123)
chasse (optional)
back beginning.
Standard Lesson with Gherman Mustuc on 4/23/2010
Attendee: Sharron & Daniel
We worked on waltz, in particular the steps that turns into prominent positions.
1. turning lock in to prominent
2. natural spin turn
3. telemark
4. ? what is the other one?
Sharron need to remember to go straight forward pass the partner, not going around.
We worked on waltz, in particular the steps that turns into prominent positions.
1. turning lock in to prominent
2. natural spin turn
3. telemark
4. ? what is the other one?
Sharron need to remember to go straight forward pass the partner, not going around.
Saturday, April 24, 2010
Standard Lesson with Ikaika on 4/23/2010
Attendee: Sharron
Today we looked at foxtrat.
1. The head position: think about looking for people behind the bunch of flower. You don't just tilt your head, you stretch the neck and upper body to left and around.
2. the exercise of pick up right foot direction up, but left foot diagonally up (bicycle ride). So that we leave space for the partner's leg to come through. This applys to feather step on the first slow, to have the left foot a little to the side to allow the leader's foot come through. (Is this similar to put the left foot under the elbow?)
3. Sway on the feather step QQ: A little like the natural turn in waltz, but without turning, rather to move through space. To achieve this sway, must keep the upper body on the standing leg (left leg) for longer, so that when the hip opens, it creates the contrast of sway. The right foot can turn out slightly a little. Keep the head to the left would help creating this sway.
4. We also talked about the starting of the sway, which is almost started from the slow of the feather step. I think we talked about creating the crease between the end of the leg and the hip here. Not sure what it was about though. We also talked about that the other day in waltz, also don't remember it :(
5. Ikaika mentioned something about Loraine's movement in the Foxchatrat. Don't really remember what it was about though.
6. Last thing is that I asked him about the reasons behind the steps he picked for the choreography. He said he pick the steps according to 2 principles:
a. Pick the steps to to teach the different positions that one need to learn at different level.
For example wing in waltz to learn the wing position, though this is not really used in open routines. the fall away step in silver tango so that I can learn fall away.
b. Pick the steps so that it maintains the charactor of the dance: for example Waltz is swing and movement dancing, but there are lots of steps in syllabus that doesn't move much, so he skipped those.
Today we looked at foxtrat.
1. The head position: think about looking for people behind the bunch of flower. You don't just tilt your head, you stretch the neck and upper body to left and around.
2. the exercise of pick up right foot direction up, but left foot diagonally up (bicycle ride). So that we leave space for the partner's leg to come through. This applys to feather step on the first slow, to have the left foot a little to the side to allow the leader's foot come through. (Is this similar to put the left foot under the elbow?)
3. Sway on the feather step QQ: A little like the natural turn in waltz, but without turning, rather to move through space. To achieve this sway, must keep the upper body on the standing leg (left leg) for longer, so that when the hip opens, it creates the contrast of sway. The right foot can turn out slightly a little. Keep the head to the left would help creating this sway.
4. We also talked about the starting of the sway, which is almost started from the slow of the feather step. I think we talked about creating the crease between the end of the leg and the hip here. Not sure what it was about though. We also talked about that the other day in waltz, also don't remember it :(
5. Ikaika mentioned something about Loraine's movement in the Foxchatrat. Don't really remember what it was about though.
6. Last thing is that I asked him about the reasons behind the steps he picked for the choreography. He said he pick the steps according to 2 principles:
a. Pick the steps to to teach the different positions that one need to learn at different level.
For example wing in waltz to learn the wing position, though this is not really used in open routines. the fall away step in silver tango so that I can learn fall away.
b. Pick the steps so that it maintains the charactor of the dance: for example Waltz is swing and movement dancing, but there are lots of steps in syllabus that doesn't move much, so he skipped those.
Thursday, April 22, 2010
Standard Lesson with Ikaika on 4/21/2010
Attendee: Sharron
Today we worked on waltz.
1. Again to establish/sink the body weight onto the standing leg when getting into the position. Lay the left shoulder blade down, don't hold it up.
2. Use hand to communicate, to touch, feel and monitor where my partner is going.
3. Handing over weight from one foot to the other, use the standing leg longer. i asked the question regarding using the heel to push while moving back, how to prevent the heel from slipping. Ikaika said that if you didn't move your body back too early, you won't have the heel slipping, Basically, you use the foot to the move the body back, not the body moving back by itself.
We tried this idea of using the standing leg to its full extend on a few figures:
a. open impetus. Using the standing leg from right foot to left foot, then pressing the floor to propergate that energy THROUGH the body to the neck and head to turn to prominent.
b. on the wing using the left foot to hand over the weight, while feeling the sway and the rotation, to lead to the body turning, and the head turning, instead of artificial head turning.
Today we worked on waltz.
1. Again to establish/sink the body weight onto the standing leg when getting into the position. Lay the left shoulder blade down, don't hold it up.
2. Use hand to communicate, to touch, feel and monitor where my partner is going.
3. Handing over weight from one foot to the other, use the standing leg longer. i asked the question regarding using the heel to push while moving back, how to prevent the heel from slipping. Ikaika said that if you didn't move your body back too early, you won't have the heel slipping, Basically, you use the foot to the move the body back, not the body moving back by itself.
We tried this idea of using the standing leg to its full extend on a few figures:
a. open impetus. Using the standing leg from right foot to left foot, then pressing the floor to propergate that energy THROUGH the body to the neck and head to turn to prominent.
b. on the wing using the left foot to hand over the weight, while feeling the sway and the rotation, to lead to the body turning, and the head turning, instead of artificial head turning.
Thursday, April 15, 2010
Standard Lesson with Ikaika on 4/14/2010
Attendee: Sharron Ji.
I'm still feeling sick today. So not sure how much knowledge is really retained.
Today we worked on Foxtrat.
1. Posture: think of extending not the top back muscle, but the middle back muscle. It feels like this is accomplished by contracting front upper ab muscle. Also need to establish the weight on the left foot first, then extending to the space on the left/front further. Strive to keep this posture at all places, in particular, on/after feather finish; after natural turn, before weave starts;
2. talked about sway: swaying only the hip, but keep the upper body in the left space, especially in 3 step.
3. Talked about CBMP:
I'm still feeling sick today. So not sure how much knowledge is really retained.
Today we worked on Foxtrat.
1. Posture: think of extending not the top back muscle, but the middle back muscle. It feels like this is accomplished by contracting front upper ab muscle. Also need to establish the weight on the left foot first, then extending to the space on the left/front further. Strive to keep this posture at all places, in particular, on/after feather finish; after natural turn, before weave starts;
2. talked about sway: swaying only the hip, but keep the upper body in the left space, especially in 3 step.
3. Talked about CBMP:
Wednesday, April 14, 2010
standard lesson with Ikaika 4/13/2010
Attendee: Sharron, Daniel
We got first place in Silver and Gold at 2010 USA Dance Nationals this past Saturday. So we watched the video from the comp.
1. I need to put my upper body over the feet then left and forward. right now it curves to the right first.
2. We got our open foxtrat routine:
Prep step
feather step
reverse turn,
feather finish
three step
natural turn
weave
reverse turn
reverse weave (reverse three step)
feather step
open impetus
feather step from PP
bounce fall away
three step
reverse turn
curved feather
hair pin
open impetus
feather finish
slip pivot
....
We got first place in Silver and Gold at 2010 USA Dance Nationals this past Saturday. So we watched the video from the comp.
1. I need to put my upper body over the feet then left and forward. right now it curves to the right first.
2. We got our open foxtrat routine:
Prep step
feather step
reverse turn,
feather finish
three step
natural turn
weave
reverse turn
reverse weave (reverse three step)
feather step
open impetus
feather step from PP
bounce fall away
three step
reverse turn
curved feather
hair pin
open impetus
feather finish
slip pivot
....
Standard Lesson with Ikaika 4/8/2010
Attendee: Sharron & Daniel
This is a lesson on Foxtrat where we talked about moving smoothly, not a lot of up and downs, very smooth,
This is a lesson on Foxtrat where we talked about moving smoothly, not a lot of up and downs, very smooth,
Tuesday, April 6, 2010
Standard lesson with Ikaika on 4/6/2010
Attendee: Sharron
We worked on Waltz today.
1. Natural turn.
a. On 1, use the heel of the right foot to push as well as using the left leg to pull. i.e. use both legs, not just one. this was illustrated with us standing sideways to the mirrow, using the front leg to push, and back leg to pull. but not using the upper body, the upper body stays the toward the partner even when we are going backward.
b. using the standing leg on the inside of the turn. Open the right hip to let partner pass.
2. Turnning lock: use the right foot that was crossed behind to power the next step.
3. turning into prominent:
a. Feel the turning into prominent between the left leg and the cotch, creating a crease between the leg and the hip.
b. Open to prominent without getting into the right space.
c. But head doesn't need to drop back too much, intead try to feel the back of the neck long.
4. Close from pormienton 2&: need to be a little early.
5. open to prominent (3) is again think of the creating the crease between leg and crotch.
6. The next part just need to think going forward, don't worry about turnning yourself. Turn will happen from the right foot then the leader turns.
We worked on Waltz today.
1. Natural turn.
a. On 1, use the heel of the right foot to push as well as using the left leg to pull. i.e. use both legs, not just one. this was illustrated with us standing sideways to the mirrow, using the front leg to push, and back leg to pull. but not using the upper body, the upper body stays the toward the partner even when we are going backward.
b. using the standing leg on the inside of the turn. Open the right hip to let partner pass.
2. Turnning lock: use the right foot that was crossed behind to power the next step.
3. turning into prominent:
a. Feel the turning into prominent between the left leg and the cotch, creating a crease between the leg and the hip.
b. Open to prominent without getting into the right space.
c. But head doesn't need to drop back too much, intead try to feel the back of the neck long.
4. Close from pormienton 2&: need to be a little early.
5. open to prominent (3) is again think of the creating the crease between leg and crotch.
6. The next part just need to think going forward, don't worry about turnning yourself. Turn will happen from the right foot then the leader turns.
Monday, April 5, 2010
Standard Lesson with Olya on 4/5/2010
Attendee: Sharron & Daniel.
We worked on hover cross and bounce fallway in foxtrat:
Sharron learned to
1. the shaping on the hover cross. pick up from right below the shoulder blade, give forward to the partner, while leaving head behind. feels likea lazy head is left behind.
2. After the natural turn (heel turn), need to suck in the tummy, instead of letting belly sticking forward. (Daniel also need to do this)
3. On bounce fall away, on the bounce step, delay the turning of the head back to left for a bit, this helps to create the lingering feeling, and makes it easier to stay in CBMP
4. Bounce fall away is going down line of dance, Daniel should remember not to over turn it.
We worked on hover cross and bounce fallway in foxtrat:
Sharron learned to
1. the shaping on the hover cross. pick up from right below the shoulder blade, give forward to the partner, while leaving head behind. feels likea lazy head is left behind.
2. After the natural turn (heel turn), need to suck in the tummy, instead of letting belly sticking forward. (Daniel also need to do this)
3. On bounce fall away, on the bounce step, delay the turning of the head back to left for a bit, this helps to create the lingering feeling, and makes it easier to stay in CBMP
4. Bounce fall away is going down line of dance, Daniel should remember not to over turn it.
Sunday, April 4, 2010
Standard Lesson with Ikaika on 4/1/2010
Attendee: Sharron, Daniel,
1. Sway exercise: front, back, right, left, sway right, sway left...
2. Hover Cross: how to sway the girl and turn her head to the right.
3. Bounce fallway: Sharron's head position.
4. Tango: link, Daniel, just change your own direction, the girl will following, don't twist your hip too much.
1. Sway exercise: front, back, right, left, sway right, sway left...
2. Hover Cross: how to sway the girl and turn her head to the right.
3. Bounce fallway: Sharron's head position.
4. Tango: link, Daniel, just change your own direction, the girl will following, don't twist your hip too much.
Saturday, April 3, 2010
Standard lesson with Ikaika on 3/31/2010
Attendee: Sharron
Stay on the left.
1. Stay on the left, in the feather finish, in the 3 step and the weave
2. Stay on the left in Tango as well, especially on the prominent link step.
Stay on the left.
1. Stay on the left, in the feather finish, in the 3 step and the weave
2. Stay on the left in Tango as well, especially on the prominent link step.
Tuesday, March 30, 2010
Standard Lesson with Olya on 3/30/2010
Attendee: Sharron, Daniel,
1. Waltz:
a. On turning to prominent after turning lock: turn the head a little later.
b. After double reverse spin turn: keep center toward the partner. Keep head in the left space.
c. Follow the leader on the rise/fall and turn.
2. Tango:
a. five step: on step 2,3,4 keep the CBMP position, and head on the left space.
b. Use the standing leg to star the five step. The first step in 5 step is a rotation step, it should be small. the next few steps are moving steps, therefore bigger steps.
1. Waltz:
a. On turning to prominent after turning lock: turn the head a little later.
b. After double reverse spin turn: keep center toward the partner. Keep head in the left space.
c. Follow the leader on the rise/fall and turn.
2. Tango:
a. five step: on step 2,3,4 keep the CBMP position, and head on the left space.
b. Use the standing leg to star the five step. The first step in 5 step is a rotation step, it should be small. the next few steps are moving steps, therefore bigger steps.
Standard Lesson with Ikaika 3/29/2010
Attendee: Sharron, Daniel
Worked on tango today:
1. Tango: removed grandma Rock. (yeh!)
2. worked on five step.
3. Ikaika said that we just need to think about a few simple things.
a. get the weight over the foot.
b. core toned.
c.
Worked on tango today:
1. Tango: removed grandma Rock. (yeh!)
2. worked on five step.
3. Ikaika said that we just need to think about a few simple things.
a. get the weight over the foot.
b. core toned.
c.
Standard lesson with Ikaika on 3/24/2010
Attendee: Sharron, Daniel
Three questions
1. Tango coreography: added open promenent link and five step.
2. Hover Cross & Bounce Fallaway.
3. what is the other one?
Three questions
1. Tango coreography: added open promenent link and five step.
2. Hover Cross & Bounce Fallaway.
3. what is the other one?
Wednesday, March 24, 2010
standard lesson with Ikaika on 03/22/2010
Attendee: Sharron
Today we worked on Foxtrat.
1. Hover cross:
a. Need to get on the left foot, then roll from the ball of the foot, so that don't fall out.
2. Bounce Fallaway
a. Need to keep toward the partner at the first two steps.
b. A way to analyze what went wrong is to go stop at the part that start to go wrong and then put the weight on each step and see how it works.
c. On the bounce step don't step too far back.
3. Three step
a. Posture on the right sway, is going up and around, not just right, because the latter would go into the partner's space.
b. This posture is similar in turning to prominent.
Today we worked on Foxtrat.
1. Hover cross:
a. Need to get on the left foot, then roll from the ball of the foot, so that don't fall out.
2. Bounce Fallaway
a. Need to keep toward the partner at the first two steps.
b. A way to analyze what went wrong is to go stop at the part that start to go wrong and then put the weight on each step and see how it works.
c. On the bounce step don't step too far back.
3. Three step
a. Posture on the right sway, is going up and around, not just right, because the latter would go into the partner's space.
b. This posture is similar in turning to prominent.
Sunday, March 21, 2010
Standard Lesson with Ikaika on 3/19/2010
Attendee: Sharron & Daniel.
Today we did rounds first. Ikaika said he liked Tango and quick step better, because they were more on time.
Then we worked on the timing of Waltz. And mostly focused on getting the over turned spin turn and the turning lock done on time. I was told that my spin turn, I stopped the turn before it was really finished. So I tried to turn more, then it seemed to also provide momentem for the turning lock.
Other things he also talked about was Daniel's posture. and the first step of the natural turn, don't attack too much. use standing leg more And keep on using the legs on the second and third step, don't just fall out.
Previously we also worked on Foxtrat and Tango.
In the work on Tango:
1. close prominent: Daniel need to close Sharron to Daniel, not the other way.
2. Quaute: Daniel needs to stay in his space, and get on to the ball of the left foot
3. Walk, Walk, Link Locks of things on this, but can't really recall anything.
Foxtrat
1. Sway for Sharron on the feather step.
2. step through daniel on the feather finish step
3. Think the feeling of cardwheel on the feather finish. Cardwheeling to the left
Today we did rounds first. Ikaika said he liked Tango and quick step better, because they were more on time.
Then we worked on the timing of Waltz. And mostly focused on getting the over turned spin turn and the turning lock done on time. I was told that my spin turn, I stopped the turn before it was really finished. So I tried to turn more, then it seemed to also provide momentem for the turning lock.
Other things he also talked about was Daniel's posture. and the first step of the natural turn, don't attack too much. use standing leg more And keep on using the legs on the second and third step, don't just fall out.
Previously we also worked on Foxtrat and Tango.
In the work on Tango:
1. close prominent: Daniel need to close Sharron to Daniel, not the other way.
2. Quaute: Daniel needs to stay in his space, and get on to the ball of the left foot
3. Walk, Walk, Link Locks of things on this, but can't really recall anything.
Foxtrat
1. Sway for Sharron on the feather step.
2. step through daniel on the feather finish step
3. Think the feeling of cardwheel on the feather finish. Cardwheeling to the left
Saturday, March 20, 2010
Chondromalacia patella
Wow, it's been a while since i write my notes!
my left knee has been bothering me lately. It started since December, January, but is getting worse these days. It doesn't really hurt yet, but it feels strange, and it feels like giving away. It is probably something related to Chondromalacia patella (The cartilage under your knee cap is grinding down due to your knee cap running off track).
So what I need to do is
1. Wear knee braces
2. Do exercise for Quadracep:
a. Quad sets are done by contraction the thigh muscles while the legs are straight and holding the contraction for a count of 10. Sets of 10 contractions are done between 15-20 times per day.
b. Quadracep extention:
Step 1
Lie on your back with both knees bent and both feet on the floor. Rest arms alongside your body. Make sure your shoulders, arms, and neck are relaxed.
Step 2
Slowly straighten right leg, keeping the thigh in line with left thigh. Slowly return to starting position. Repeat for 8 times. Repeat with the other leg. Progress to 3 sets of 8 with each leg.
c. hamstring curl
3. Go swimming in the morning. do free style kicks.
4. see an orthopedic doctor
5. Take Non-Steroidal Anti-Inflammatory Drug medications to reduce inflammation in the knee
my left knee has been bothering me lately. It started since December, January, but is getting worse these days. It doesn't really hurt yet, but it feels strange, and it feels like giving away. It is probably something related to Chondromalacia patella (The cartilage under your knee cap is grinding down due to your knee cap running off track).
So what I need to do is
1. Wear knee braces
2. Do exercise for Quadracep:
a. Quad sets are done by contraction the thigh muscles while the legs are straight and holding the contraction for a count of 10. Sets of 10 contractions are done between 15-20 times per day.
b. Quadracep extention:
Step 1
Lie on your back with both knees bent and both feet on the floor. Rest arms alongside your body. Make sure your shoulders, arms, and neck are relaxed.
Step 2
Slowly straighten right leg, keeping the thigh in line with left thigh. Slowly return to starting position. Repeat for 8 times. Repeat with the other leg. Progress to 3 sets of 8 with each leg.
c. hamstring curl
3. Go swimming in the morning. do free style kicks.
4. see an orthopedic doctor
5. Take Non-Steroidal Anti-Inflammatory Drug medications to reduce inflammation in the knee
Sunday, March 7, 2010
Standard Lesson with Olya on 3/2/2010
Attendee: Daniel and Sharron
We continued working on Tango.
Olya asked me to prepare earlier on the left foot for the reverse turn after the corte.
She also talked about the diagonal stretches, left shoulder to right hip in the closed position. Then going to right shoulder and left hip stretch in prominent position. This seems to be help keeping my right side toward the partner in the prominent position.
We continued working on Tango.
Olya asked me to prepare earlier on the left foot for the reverse turn after the corte.
She also talked about the diagonal stretches, left shoulder to right hip in the closed position. Then going to right shoulder and left hip stretch in prominent position. This seems to be help keeping my right side toward the partner in the prominent position.
Standard Lesson with Ikaika 3/2/2010
Attendee: Sharron
This is the one we worked on my silver tango routine. But not sure what the technical points any more :( Next time need to write notes earlier!!!
1. we talked about the alignment for the 4 step.
This is the one we worked on my silver tango routine. But not sure what the technical points any more :( Next time need to write notes earlier!!!
1. we talked about the alignment for the 4 step.
Standard Lesson with Ikaika on 3/1/2010
Attendee: Sharron, Daniel
We looked at the video from Berkley (We made it to the final in PreChamp :) Tango has clearly became the weakest dance. We didn't make it to final for Tango. So we worked on the Tango today.
Don't really remember what we talked about in this lesson :( Need to write notes earlier next time :(
I think we talked about
1. Timing: for walk walk link. We'd like to do Slow Slow & Slow, instead of Slow Slow quick quick. For close prominent, Slow Quick & Quick Slow. ( need to double check this)
2.
We looked at the video from Berkley (We made it to the final in PreChamp :) Tango has clearly became the weakest dance. We didn't make it to final for Tango. So we worked on the Tango today.
Don't really remember what we talked about in this lesson :( Need to write notes earlier next time :(
I think we talked about
1. Timing: for walk walk link. We'd like to do Slow Slow & Slow, instead of Slow Slow quick quick. For close prominent, Slow Quick & Quick Slow. ( need to double check this)
2.
Sunday, February 28, 2010
Standard lesson with Ikaika on 2/26/2010
Attendee: Sharron, Daniel
Worked on Waltz today.
1. press into the floor. Flex all the joints, from ankle to knee, to hip.
2. On the natural turn, stay on 2 for longer, think upper body extending left while Leader's body pass mine. LEFT LEFT on the upper body!!!
3. I was told to give the left side to the partner without taking the right side away. This twist in the body is supposely mostly done at the ribcage part (middle uper). from the top of the ribcage to the head, was just growing into an up left space. the sway is then started from the knee, though the hip.
3. turning lock, put the right knee directly behind the left knee, not to the right behind. This helped in get the right amount of turns.
4. Daniel was asked to bend down, especially flex hip joint as well. he was also told to keep the correct head position. not just turning faces here and there. he was also asked to turn the foot earlier in the second step of the over turned spin turn.
Worked on Waltz today.
1. press into the floor. Flex all the joints, from ankle to knee, to hip.
2. On the natural turn, stay on 2 for longer, think upper body extending left while Leader's body pass mine. LEFT LEFT on the upper body!!!
3. I was told to give the left side to the partner without taking the right side away. This twist in the body is supposely mostly done at the ribcage part (middle uper). from the top of the ribcage to the head, was just growing into an up left space. the sway is then started from the knee, though the hip.
3. turning lock, put the right knee directly behind the left knee, not to the right behind. This helped in get the right amount of turns.
4. Daniel was asked to bend down, especially flex hip joint as well. he was also told to keep the correct head position. not just turning faces here and there. he was also asked to turn the foot earlier in the second step of the over turned spin turn.
Standard lesson with Ikaika on 2/25/2010
Attendee: Sharron
2/25/2010
worked on foxtrat today
1. talked about using sway, how the upper body is stacked up to the left. even when I'm swayting to the left. swaying from the knee.
2. talked about using the ab muscle, something like feeling like a heavy lead ball in my belly, and that is my weight, and for every step, that weight is moved to the foot.
3. get the foot to the right place, and then the body goes, not the other way.
4. Also was told that I need more pilate exercise. Need to work on the muscles on my legs :(
2/25/2010
worked on foxtrat today
1. talked about using sway, how the upper body is stacked up to the left. even when I'm swayting to the left. swaying from the knee.
2. talked about using the ab muscle, something like feeling like a heavy lead ball in my belly, and that is my weight, and for every step, that weight is moved to the foot.
3. get the foot to the right place, and then the body goes, not the other way.
4. Also was told that I need more pilate exercise. Need to work on the muscles on my legs :(
Sunday, February 21, 2010
Standard Lesson with Ikaika 2/19/2010
Write notes late again. Some vague memory of what was discussed. The main theme is to use push into the floor, not away from the floor. flex the joints, use the floor.
1. Asked the question on swing and sway. Ikaika's Answer is that we can do sway without swing.
2. Talked about push the floor from the ankle/feet.
3. Did overturn spin turn, I was told to that I finish my turn too early and fall out of it at the end. On all spin turn/open impetus, I need to get my weight onto the second step on my right foot, not going around.
4. turning lock: need to use the & step on the right foot to move onto the next step.
5. Also did wing, my right step need to go where my left foot is pointing to.
6. Old problem with right elbow. Need to get it down. need to think of pick up and give right side.
On the different note, Did winter Frolic this weekend, didn't feel so good, thought placement was not bad (1st in Silver and Gold, 5th in Novice, out of 7). It felt bad and video was disappointing. Will I ever make it to championship level? big question mark in my head.
1. Asked the question on swing and sway. Ikaika's Answer is that we can do sway without swing.
2. Talked about push the floor from the ankle/feet.
3. Did overturn spin turn, I was told to that I finish my turn too early and fall out of it at the end. On all spin turn/open impetus, I need to get my weight onto the second step on my right foot, not going around.
4. turning lock: need to use the & step on the right foot to move onto the next step.
5. Also did wing, my right step need to go where my left foot is pointing to.
6. Old problem with right elbow. Need to get it down. need to think of pick up and give right side.
On the different note, Did winter Frolic this weekend, didn't feel so good, thought placement was not bad (1st in Silver and Gold, 5th in Novice, out of 7). It felt bad and video was disappointing. Will I ever make it to championship level? big question mark in my head.
Thursday, February 18, 2010
standard lesson with Ikaika on 2/18/2010
Finally I'm writing the notes on the day of the lesson :)
1. We practiced on hold. I need to keep my right elbow down, starting from the time I raise my right hand, need to raise it slow. Need to give the sense that I have the confidence to take my time to make my choice.
2. hip twist slightly left, upper body slightly right
3. Do this 4 time in a row to make sure it is correct.
4. On every 2 (from 1& to 2) try to drop left hip, raise right hip (not stuck right hip out though) and turn upper body further (forward left), but still keep the right side to the partner. Need to try this more times to figure out what I can do, and need to do this on every 2.
5. Need to soften the knee and use the joints.
1. We practiced on hold. I need to keep my right elbow down, starting from the time I raise my right hand, need to raise it slow. Need to give the sense that I have the confidence to take my time to make my choice.
2. hip twist slightly left, upper body slightly right
3. Do this 4 time in a row to make sure it is correct.
4. On every 2 (from 1& to 2) try to drop left hip, raise right hip (not stuck right hip out though) and turn upper body further (forward left), but still keep the right side to the partner. Need to try this more times to figure out what I can do, and need to do this on every 2.
5. Need to soften the knee and use the joints.
Sunday, February 14, 2010
Standard Lesson with Ikaika on 2/11/2010
I am writing this entry late. Almost forgot what I learned @ this class.
We started with the new step bounce fall away in Waltz, then we did foxtrat feather and feather finish and three steps.
1. We talked a lot about rising into the ground, not away from it, using the foot. helps to keep balance better. I was thinking about the weight transferring from each bone of my foot from the front the the back.
2. We also talked about the sway from the hip, and the leg, but not from the upper body.
I think i vaguely got the idea, can do it one out of 10 times. So need to practice with a concious thought on this.
We started with the new step bounce fall away in Waltz, then we did foxtrat feather and feather finish and three steps.
1. We talked a lot about rising into the ground, not away from it, using the foot. helps to keep balance better. I was thinking about the weight transferring from each bone of my foot from the front the the back.
2. We also talked about the sway from the hip, and the leg, but not from the upper body.
I think i vaguely got the idea, can do it one out of 10 times. So need to practice with a concious thought on this.
Tuesday, February 9, 2010
standard lesson with Olya on 2/9/2010
We worked on the spin turn over turned and turning lock.
1. I need to keep my right side closed to the partner, during the spin and the turnning lock. Almost like this proviced a reference point of where to turn/spin etc.
2. Daniel needs to pay attention not to rise too early?
1. I need to keep my right side closed to the partner, during the spin and the turnning lock. Almost like this proviced a reference point of where to turn/spin etc.
2. Daniel needs to pay attention not to rise too early?
Monday, February 8, 2010
standard lesson with Ikaika on 2/8/2010
today we set our next goal: to win gold in USA Dance Nationals on 4/9/2010. Very exciting!
So we set to work on some new figures.
1. Foxtrat:
bounce fall away with weave ending (gold)
hover cross (silver)
2. Waltz:
over turned spin turn -- somehow over turned spin seems to be easier than the normal spin we did.
turning lock (Silver)-- make sure to put the weight on the right foot on the lock step before stepping to the next one.
3. Ten positions.
1. close
2. prominent
3. outside partner: leader working forward
4. partner outside: follower walking forward?
5. counter prominent
6. fall away
7.
So we set to work on some new figures.
1. Foxtrat:
bounce fall away with weave ending (gold)
hover cross (silver)
2. Waltz:
over turned spin turn -- somehow over turned spin seems to be easier than the normal spin we did.
turning lock (Silver)-- make sure to put the weight on the right foot on the lock step before stepping to the next one.
3. Ten positions.
1. close
2. prominent
3. outside partner: leader working forward
4. partner outside: follower walking forward?
5. counter prominent
6. fall away
7.
Thursday, February 4, 2010
Standard Lesson with Ikaika on 2/3/2010
We watched the video from City Light today. Then we worked on my position. my upper body position.
1. shape from the foot: press into the floor to create the shape on the top. Once we talked about sway/shape from the knee before. I think maybe these two are related.
2. forward and sideway toward the elbow. pick up the left side. Feel like sliding ribcage to the left.
3. when in inside of the turn (such as natural 1 2 3) upper body stay behind.
4.
1. shape from the foot: press into the floor to create the shape on the top. Once we talked about sway/shape from the knee before. I think maybe these two are related.
2. forward and sideway toward the elbow. pick up the left side. Feel like sliding ribcage to the left.
3. when in inside of the turn (such as natural 1 2 3) upper body stay behind.
4.
Monday, February 1, 2010
Silver Routine
Writing down the routine again so that it is more clear
1. Watlz --
first long wall
Open impetus
Wing
Double Reverse Spin
Chasse to Right,
Outside change to Prominent,
Close Prominent,
Hesitation.
Short Wall starts again
Double Reverse Spin
Chasse to Right,
Outside change, (end in close position)
Natural turn 1-6
Long Wall
Natural Spin turn
Reverse turn
Double reverse spin turn
Reverse turn,
Whisk,
Close Prominent,
Hesitation
Short Wall again
2. Tango --
Short wall, start from short wall
2 walks (SS)
Link (QQ)
Fallaway Prominend (SQQ, SQQ) last QQ is the heel turn.
Close Prominend (SQQS)
4 steps (QQQQ)
closed Prominend(SQQS)
reverse turn etc (QQS, QQS)
Long Wall
(2 walks
Link
Close prominent
Quarte
QQS
reverse turn) could remove if wall is not long enough.
2 Walk
Link
natural twist turn.
close promiment
2 walks
link
natrual prominent turn.
reverse turn.
Short Wall again
3. Foxtrat
First long wall
Feather (SQQ)
Reverse turn (SQQ)
Feather finish (SQQ)
Three step, (SQQ)
Natural turn (SQQ)
Weave (QQQQ)
Reverse turn
Check
Short wall
Weave
Feather finish
Three step
Natural turn
Hesitation
second long wall
Feather (SQQ)
Open telemark (SQQ), heel turn on this
Open Natural (SQQ),
Swivel 215 degree(S),
Feather Ending (SQQ),
Reverse Turn(SQQ)
Reverse Wave(SQQ), it's a back three step
Back feather(SQQ)
Feather Finish(SQQ)
Reverse turn (SQQ)
Check
then same short wall as before
4. Quick Step
first long wall
Quarter turn Right
Quarter turn left
Natural turn
backward lock
Runnning finish
Hesitation
Short wall
double reverse spin turn
chasse to Right,
Tipple Chasse ( can skip this if not enough space)
back lock
Hesitation
second long wall
Half natural (SQQ)
Spin Turn(SSS)
Chasse (SQQS)
Quick Open Reverse (SSQQ)
4 quick runs (SQQQQS)
Half natural (SQQ)
Short wall is the same.
1. Watlz --
first long wall
Open impetus
Wing
Double Reverse Spin
Chasse to Right,
Outside change to Prominent,
Close Prominent,
Hesitation.
Short Wall starts again
Double Reverse Spin
Chasse to Right,
Outside change, (end in close position)
Natural turn 1-6
Long Wall
Natural Spin turn
Reverse turn
Double reverse spin turn
Reverse turn,
Whisk,
Close Prominent,
Hesitation
Short Wall again
2. Tango --
Short wall, start from short wall
2 walks (SS)
Link (QQ)
Fallaway Prominend (SQQ, SQQ) last QQ is the heel turn.
Close Prominend (SQQS)
4 steps (QQQQ)
closed Prominend(SQQS)
reverse turn etc (QQS, QQS)
Long Wall
(2 walks
Link
Close prominent
Quarte
QQS
reverse turn) could remove if wall is not long enough.
2 Walk
Link
natural twist turn.
close promiment
2 walks
link
natrual prominent turn.
reverse turn.
Short Wall again
3. Foxtrat
First long wall
Feather (SQQ)
Reverse turn (SQQ)
Feather finish (SQQ)
Three step, (SQQ)
Natural turn (SQQ)
Weave (QQQQ)
Reverse turn
Check
Short wall
Weave
Feather finish
Three step
Natural turn
Hesitation
second long wall
Feather (SQQ)
Open telemark (SQQ), heel turn on this
Open Natural (SQQ),
Swivel 215 degree(S),
Feather Ending (SQQ),
Reverse Turn(SQQ)
Reverse Wave(SQQ), it's a back three step
Back feather(SQQ)
Feather Finish(SQQ)
Reverse turn (SQQ)
Check
then same short wall as before
4. Quick Step
first long wall
Quarter turn Right
Quarter turn left
Natural turn
backward lock
Runnning finish
Hesitation
Short wall
double reverse spin turn
chasse to Right,
Tipple Chasse ( can skip this if not enough space)
back lock
Hesitation
second long wall
Half natural (SQQ)
Spin Turn(SSS)
Chasse (SQQS)
Quick Open Reverse (SSQQ)
4 quick runs (SQQQQS)
Half natural (SQQ)
Short wall is the same.
Thursday, January 21, 2010
Standard Lesson with Ikaika on 1/21/2010
Today we established the silver routines.
1. Watlz -- second long wall
Open impetus
Wing
Double Reverse Spin
Chasse to Right,
Outside change to Prominent,
Close Prominent,
Hesitation.
Short Wall starts again
2. Tango -- short wall, start from short wall
2 walks (SS)
Link (QQ)
Fallaway Prominend (SQQ, SQQ) last QQ is the heel turn.
Close Prominend (SQQS)
4 steps (QQQQ)
closed Prominend(SQQS)
reverse turn etc (QQS, QQS)
Questions: directions?
3. Foxtrat -- second long wall
Feather (SQQ)
Open telemark (SQQ), heel turn on this
Open Natural (SQQ),
Swivel 215 degree(S),
Feather Ending (SQQ),
Reverse Turn(SQQ)
Reverse Wave(SQQ), it's a back three step
Back feather(SQQ)
Feather Finish(SQQ)
Reverse turn (SQQ)
Check
then same short wall as before
4. Quick Step -- second long wall
Half natural (SQQ)
Spin Turn(SSS)
Chasse (SQQS)
Quick Open Reverse (SSQQ)
4 quick runs (SQQQQS)
Half natural (SQQ)
Short wall is the same.
1. Watlz -- second long wall
Open impetus
Wing
Double Reverse Spin
Chasse to Right,
Outside change to Prominent,
Close Prominent,
Hesitation.
Short Wall starts again
2. Tango -- short wall, start from short wall
2 walks (SS)
Link (QQ)
Fallaway Prominend (SQQ, SQQ) last QQ is the heel turn.
Close Prominend (SQQS)
4 steps (QQQQ)
closed Prominend(SQQS)
reverse turn etc (QQS, QQS)
Questions: directions?
3. Foxtrat -- second long wall
Feather (SQQ)
Open telemark (SQQ), heel turn on this
Open Natural (SQQ),
Swivel 215 degree(S),
Feather Ending (SQQ),
Reverse Turn(SQQ)
Reverse Wave(SQQ), it's a back three step
Back feather(SQQ)
Feather Finish(SQQ)
Reverse turn (SQQ)
Check
then same short wall as before
4. Quick Step -- second long wall
Half natural (SQQ)
Spin Turn(SSS)
Chasse (SQQS)
Quick Open Reverse (SSQQ)
4 quick runs (SQQQQS)
Half natural (SQQ)
Short wall is the same.
Standard Lesson with Olya on 1/19/2010
We worked on timing.
1. always count. waltz 1 2 3, count it with emphasize on 2.
2. Timeing of Tango, do 2 slow on the first quate.
3. Timing of Foxtrat.
1. always count. waltz 1 2 3, count it with emphasize on 2.
2. Timeing of Tango, do 2 slow on the first quate.
3. Timing of Foxtrat.
lesson With Ikaika on 1/18/2010
We reviewed the video from MAC.
We then talked about Tango.
Position for lady: Left, Right, Left.
hip turn left,
Ribcage turn right so that the leader's hand lay flat on the lady's back.
Shoulder turn left to be parallel to leader's shoulder, and to stay on the left in the space.
We then talked about Tango.
Position for lady: Left, Right, Left.
hip turn left,
Ribcage turn right so that the leader's hand lay flat on the lady's back.
Shoulder turn left to be parallel to leader's shoulder, and to stay on the left in the space.
Friday, January 15, 2010
Thursday, January 14, 2010
Standard Less with Ikaika on 1/13/2010
Today we worked on wing in Waltz.
1. "Sway in, not sway out." -- Bill Irvine. Sharron's analogy: think of a pole going down into the floor.
2. Prominent position, fold the crease between left leg and hip. This helps to keep the upper body stacked up on the left foot.
3. Wing: on step 2, need to remember to go around the leader, not just shoot straight into the far away distance. This is wing. Also need to hand over the weight, or bounce back the weight, but not throw the weight then catch. Turn the head here when when the hip turns.
4.
1. "Sway in, not sway out." -- Bill Irvine. Sharron's analogy: think of a pole going down into the floor.
2. Prominent position, fold the crease between left leg and hip. This helps to keep the upper body stacked up on the left foot.
3. Wing: on step 2, need to remember to go around the leader, not just shoot straight into the far away distance. This is wing. Also need to hand over the weight, or bounce back the weight, but not throw the weight then catch. Turn the head here when when the hip turns.
4.
Standard Lesson with Ikaika 1/8/2009
Today we talked about sways in foxtrat
1. Sway is mostly the hip (think the feather step, sway the hip, then rest of the body follows)
2. continue the sway through out, don't freeze on one sway (@ natrual) for too long
3.From three step (sway right) to Natural turn (sway left)
4. feather finish: at the end of it, keep the sway, don't turn back too early.
5. three step
6. Weave: keep the ribcage to the left?
1. Sway is mostly the hip (think the feather step, sway the hip, then rest of the body follows)
2. continue the sway through out, don't freeze on one sway (@ natrual) for too long
3.From three step (sway right) to Natural turn (sway left)
4. feather finish: at the end of it, keep the sway, don't turn back too early.
5. three step
6. Weave: keep the ribcage to the left?
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