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.
Tuesday, April 27, 2010
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.
Subscribe to:
Posts (Atom)
