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?
Friday, May 28, 2010
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?
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