Standard Lesson with Giampiero

We worked on foxtrot routine today. There are a few technique that was mentioned today.
1. In feather step, and in the synchopated feather, instead of thinking left side forward, think right side backward, this helps to move and give my partner space to move. My goal in feather step is to not let partner pass me.

2. Don't force the movement/technique with muscle. Have just the right amount of relaxation. Absorb like water, think ghost in a dress.

3. Think of the steps before doing it. Visualize the steps with the count before doing it. Only after you know what to do (timing, footwork, steps), will you be able to relax and do it with the right amount of relaxation. (It feels like i need to be active in the mind to know what to do, then do it with the right amount of relaxation)

4. on the spin turn after the tipple chasse, need to rise on the 3 of the 3234.

5. Count the three fall away as three numbers in a group, to seperate the first and second fall away. (i.e. 623, 472)

6. In the second fall away, lower more between the 34 of 623,472. 4 is a heel lead for me.

5. Head positions:
a. turn head right at the reverse pivot after the QQQ feather.
b. remember to open head to right on the reverse feather.
c. three fall away, the first one need to turn head to right,
d. rounde can turn head to the right, but the same foot lounge need to turn head back to left.

Foxtrot Routine

4 bar of prep.
Choreograph has 6 phrases (48 bars) going around 6 wall before repeating. Adding 4 bar of prep. Totally 52 bars. With 28–30 bar/minute as Foxtrot tempo. We should finish the whole routine in between 104-111 seconds.

1st wall (long)
1. feather (1234, SQQ)
2. reverse turn (2234, SQQ)
3. feather finish (3234, SQQ)
4. three step (4234, SQQ)
5. syncopated feather step with a reverse pivot (5234, QQQQ)

2nd wall (short)
6. reverse wave (i.e. back three step, back feather, back three step)
(6234,7234,8234, SQQ,SQQ, SQQ). (Lady: two heel lead on the back three steps)
7. tipple chasse(1234, SQ&Q)
8. spin turn(2234, SQQ)
9. rounde(3234,QQQQ)
10. standing spin(4&2&34)

3rd wall (long)
11. feather step from PP(5234, SQQ)
12. three fallaway with feather ending added after the second fall away.
  a. first fall away(623,QQQ)
  b. second fall away(472, QQQ)
  c. feather ending(34,QQ)
  d. fall away slip pivot( 8234, QQQQ)
13. change of direction(1234, SS)
14. contra check (2234, SQQ)
15. rudolph rounde(32)
16. same foot lounge(34)
17. reverse pivot and close telemark (&4234)
19. throw away oversway (5234)
20. recover to PP (6234), heading toward corner
21. continues hover cross to outside swivel(7234,8234, SQQ,QQS, )
22. wing (1&2), head left.
23. 1 back swivel, another swivel to end PP (34,2234, SSS)

4th wall (short)
25. weave from PP(3234, 4234, SQQ, QQQQ), flat, no rise. Check to make sure the Slow is at the beginning.
26. fall away slip pivot ( 5234, QQQQ,)
27. double reverse overspin( 623&4, QQQ&Q) ? Need to check if this timing is SQ&Q& instead?
28. challenge line  (7234, SS) (Lady: head left on 72, right on 34)
29. Oversway  (8234, SS)

5th wall (long) 
26. split rounde to slip pivot (1234, SQQ)
27. weave ending  (2234, QQQQ)
28. bounce fall away (3234, QQQQ)
29. tumble turn (423&4, QQQ&Q)
30. left whisk (523&4, SQ&Q)
31. 2 swivels (6234, SS)
32. run around (7&2&34), ending with lady's Left foot stepping on the 4 to get into PP.
33, rise and step out from to PP( 8234, SS), heading toward corner.
34. feather from PP. (1234,SQQ )
35. half of a V cross. (22&,QQ&, ) (Lady: head right).
36. reverse impetus (34,QQ)  (Lady: head left on 3, head right on 4. Early rise on 3. early rise by straighten right knee early. Still a heel lead on 3)
37. right foot lounge (3234,SS)
38. Natural wing (4234,SQQ)


6th wall (short)
39. feather (5234, SQQ)
40. chasse to R (623&4,SQ&Q)
41. weave (7234, QQQQ)
42. hover telemark(8234, SQQ)
43. feather,(1234,SQQ) (first step outside partner)
44. repeat from three fallaway.

standard lesson with Danny on 12/21/2011

We had a lesson on waltz with Danny today at Ballroom Off Fifth.
It was a great lesson, we were able to work on some finer details of the dance.
1. we talked about fitting first.  Especially the fitting of the hip/thigh joint.
2. We then talked about the standing spin:
a. Denis need to lead the turn with the back of his neck, not his right arm.  He need to screw into the floor to stop, not still high up to stop.
b. I need to move my foot before my head, and leave my head with the standing leg. Need to ensure this on the first step stepping out of the left whisk.
3. we talked about free up the body for movement, instead of having it rigid and all thrown toward the partner at the same time. We started this topic while Danny was trying to tell Denis how to do the double reverse. He need to the step, rotation and swing in that order, not all at the same time. As he was talking about it, I realized that this rotation is what was missing in our natural turn, so I asked him to elaborate on this using Natural turn as an example. An example is the rotation of the body in the natural turn. In particular for the leader, after moving weight to the right foot, then it's rotation of the body (shoulder?), then it's swing the leg (think of the leg started at the shoulder). He demonstrated the rotation and usage of the body with me, using some figures like a zig zaging (but not really zig zagging, it's like weave, but I go backward). He showed how dancing is rigid and boring without this part.  He mentioned o do this as well in the spin turn.  We need to talk about  this more in our next lesson with Danny. Denis asked an interesting question when we were talking about the rotation in the spin turn vs the turning in the standing spin. Earlier in the standing spin, Danny was instructing him to only lead the turn with the back of the neck, do not pull the right side(shoulder) away to lead the turn. Here on the running spin turn, Danny talked about using rotation of the body after weight is commited at the first step (i.e. on the left step).
4. We talked about switching roles in the double reverse over spin to left whisk. In general the person going back is the person who is active.

First Lesson with Giampiero (Tango) 10/29/2011

Time: 9-10:30am 10/29/2011
Location: Starlite, Nutley, NJ.
Attendee: Sharron and Denis

This is the first lesson we are having with Giampiero. We worked on clarify the routine. Then dicussed quite a few technique points.

1. Poise in tango (and apply to other dances as well).  Lady: let the collar bone hang on the vertical line above the foot. Actually I feel the center of gravity of the collar bone shift quite a bit back comparing with what I was used to. This is quite consistent with what Danny and Bill Davis both have mentioned to leave the top back  more.

Once finding that vertical line, remember to relax it, don't hold it up. It's the arm that is up, not the shoulder/shoulder blade. The upper body is relaxed as we dance, it's the lower body, the legs and feet that is moving us around.

This change enables the body to

2. There is no sideway for the lady, always forward and backward: in fall away whisk,  after stepping forward on the left foot, swivel the foot to turn direction, so that the next step can be a backward step.

3. fall away whisk: bend the knee, sit down more. ??? Need to try this a bit and  ask about this part again. 

4. On the reverse pivots/turns, don't open the legs. Keep the legs together, and make the turn on the foot.

5. Prominade:
 a. from reverse turns. eg a five step goes into a PP.  leader turns only the upper body, not the base
 b. from natural turns. leader turns only the lower body, not the top. Like outside change?
 c. from standing position: half half.
 d. The lady should never try to open the hip.
 e. Stepping out of the promenade, lady should step forward as where the foot is pointing. (the foot should be pointing toward the partner). This is similar to what Danny saids that dance forward, means dancing spine toward the partner, because the forward direction is the direction toward the partner.

A couple other tips
2.  Don't follow. Must know the timing, direction, routine myself.
3.  Don't think while dancing. Do the thinking (visualize) ahead of time before starting, once started, just do it, do not think, there is no time, and looks less committed when thinking. 
4. Ignore the partner, don't let him disturb my posture.

Question for next lesson:

1. Clarify a couple places in the last part of the tango routine. finish the rest of the routine.
2. How to do big top and the step before the big top.
3. How to do the link? At times, I feel Denis' link is too regressive, instead of progressive. How is the link done in the routine, is it different from the basic progressive link?
4.

Tango Routine

Totally 5 phrases and 40 bars.with 31-33 bar per minute, it takes 72-77 seconds to finish the routine then repeat.
Start from PP toward DW at the beginning of short wall.

Phrase I: (Fallaway whisk from PP, chase,  progressive link to PP, skater lock, fallaway slip pivot, V cross, telespin, reverse pivot)
1. Natrual promenade turn: (1234, SQQ) (PP toward DW)
2. fall away whisk  (2234) (QQQQ)
3. hesitation 32 (S)
4. chase(&34), (&QQ)
5. chasse to right (4&2) (Q&Q)
6. Progressive link to PP (34) (QQ) (starting long wall)
7. Skater lock (5234&) (SQQ)8. fall away slip pivot (6234) (QQQQ) (going toward DC, not LOD)
9. half V cross (72&) (QQ&) (Question: direction down LOD now?)
10. half telespin? (34&) (QQ&)
11. reverse pivot (8234)
Phrase II: (Spanish Drag, same foot lounge, 5 steps, kick ball change, chase)
12. Spanish Drag, (1234, start to rise on 34) (SS)
13. same foot lounge (2234, continue to rise on 22, change to same foot lounge on 34) (SS)
14. 5 step ending PP (&3234&42) (&QQS&S) Question: check the timing in 14 and 15.   alternative timing? do we need to do &3234, or 3&234 (Note on 5/3/2012: This was changed to &32&34, i.e. &S&QQ, at the end of 4, two feet closed, in close position, weight on left foot, 42 is open to PP)
16.  slowly move from PP position to whisk (34) (S)
17. & kick ball change, & PP (&5&2&34): first & --  (&: weight on left foot, 5&2: kick ball change: &: weight on left foot)  (&Q&Q&S)
18. two walks from PP (6234)(SS)
19. chase, then chasse to right (&723&4)(&QQQ&Q)
20. back rock, close, same foot lounge, (8234) (QQS)
Phrase III: (Swivel, reverse turn)
21 swivel on left foot, swivel on right foot (1234)
22. kick flick left foot. (22)
23. go around (&34) (&QQ)
24. reverse turn. (3234)(QQS)
25. three more walks forward, close to right foot (&4234)(&QQS): close on risen foot, weight on left foot., shape left, hold the slow 
26. turn to PP, small step (R) step(L), point(R), place(R), step(L), step(R). (&52&34) (&QQ&Q)
27. outside spin: two small? forward step, close left foot to right and turn on right foot, change weight to left, step out right foot(6234) (QQQQ)
28. lounge roll, (72) (QQ)
29. stop lock, hold (3&482)
30. Recovery(&) V cross (34&)
Phrase IV: 
31. fall away slip pivot (1234)
32. Reverse outside swivels, (timing? QQS? 2234?  not clear
33. big top. (32&?) not clear on timing,
34. V cross32 (QQ& 34&)
35. Left whisk34 (QQS, 4234)
36. Run around in freckles 5&2&34, (Rudolph?) rounde on the 62.
(as in http://www.youtube.com/watch?v=KMbWnfX89TM, 00:15)
37. Developed right foot, 34
38. rounde  72, Check right foot, 34
39. Step close, small shape. 82
40. Tick Open to pp 34
Phrase V
31. Two walk from pp 1234 ss
32. Close slowly, 2234
33. Two back walk, 3234, ss
34. Reverse turn, 4234,qqs&, &is in wing position
35. Two back walk in wing position, ss
36. Right foot close to left, left foot point out,
37. Step on left foot, swivel, with rounde on right foot
38. Outside swivel,
39. Step on left foot, rounde forward right foot,
40. Close.
41. From pp, walk close, sqq,
42. Reverse turn, qqs,
43. Walk, step side on right , shape my right,
44. Step side, shape my left.
45. Step side, oversway,
 

Quickstep Routine

8 phrases (64 bars), 73-77 minutes based on 50–52 bars per minute for quickstep.
90 seconds music should allow 9-10 phrase.

written from lady's perspective


first wall, long
8 count Prep 1234,5678
Runs (step hop chasse)123&4, rocket step 2 runs( 2234)
Repeat runs 3234, 4234
Step hop 52 contra check, 34
2 Jump 62
Kick right foot twice, 3472
Kick left foot once 34
Low kick right, left, right, ending in PP.  Place right foot back on 4. 8234

toward 2nd wall corner, then to second wall
From PP, 2 Step hops: Step hop on L(S&) 12, Step hop on R(S&) 34
Scatter chasse Q&Q to L (q&q&) 2&2 (Is this a scatter chasse kind of chasse with some sort of lowering as apposed to the type of chasse in pepper pot? )
Step hop (S&) 34
Scatter Chasse: Slow &32 Slow &34 Quick & quick 4&2(Is this a scatter chasse kind of chasse with some sort of lowering? )
Step hop (s&) 34 , ending going down line of dance in new long wall.

3rd wall, long
chasse to left (for lady)(q&q&) 5&2&. the last & is a small step back on the right foot.
Pepper pot: Step Hop on L backward outside partner(34, S&), Chasse (q&q) 6&2, lock (qq) 34
Stephop on L, 72
Pepper pot: stephop on R, 34, chasse. (q&q, 8&2), qq(34)

Outside change Sqq 1234
Open Natural, SQQ 2234
Outside spin. SQQ 3234

4th wall, short

Turning lock,QQQQ4234
open natural, SQQ 5234 (this open natural is different from the last one? What direction am I going?)
outside spin again SQQ 6234
Hesitation 7234, 8234 (at the end, up on toes, girl sway right)

5th wall, long 
Side lock (1a2) (left foot lock in the front, sway left)
Hop hop (3 4)
3 Low kicks then a bent kick(2234) (QQQQ)
Hesitation ending with girl sway right 3234 (SS)
Side lock ( 4a2) sway left, two more back steps (34)
Forward lock 523&4 (SQ&Q&?)

Quick open reverse (6234)

close telemark (7234) (SQQ)
left foot pick up (8234) (SS) (82 stepping right foot, 34 pick up  left foot)

2 Samba step. 1234, 2234
recover step, 3234(SS)  32 is stepping back, 34 is bush forward.

Turning lock (ending in PP), 423&4
Open Natrual 5234
running finish, 6234 (Ending backing DW of short wall)

6th wall, short
Tipsy (L,R,L) SQ&Q, Q&Q, Q&Q 723&4, 8&2, 3&4

1 back (for man) locks(1&234, Q&QS)

pepper pot: 2 locks(2&234, Q&QQQ)
running finish (3234, SQQ)
Natural turn (4234, SQQ), lower at the end
Impetus (5234, SQQ), to PP,
check and kick left foot(62&34, S&S),
2 fast kick to the right, 1 slow kick to the left. Twice (7234, 8234, QQS, QQS), ending in PP.

7th wall, long
Fast low side kicks in PP, 1234
Step hop (left foot), step hop(right foot, turn) (S&S&),2234
Chasse (q&q, 3&2) & (a change step on right foot)
Pepper Pot to R: step hop (on left foot)(S&) 34, chasse(Q&Q), cross(QQ)  4&234
Step hop(left) 52, step hop (on right foot) 34, chasse to L(q&q), & (6&2&)

Step hop (left), step hop(right), step hop(left)(34, 72, 34, S&, S&, S&)

Pepper Pot: chasse to R + Rocket step (Q&QQQ), ending PP. (8&234)

Toward the short wall corner that begins 8th wall
Open Natrual (SQQ, 1234),from PP, All forward steps.
running finish (SQQ, 2234), first step forward, next two backward. Can sway right, but not in PP
Open Natrual (SQQ, 3234),
running finish(SQQ, 4234),
Natrual (SQQ, 5234),
Spin (SQQ, 6234) ending in close position facing toward DC on the long line.(Is the spin turn timing SSS?)
Pepper pot: double locks (Q&QQQ, 7&234)
Outside change: (SQQ, 8234)
Repeat from from beginning.

Waltz Routine

Totally 6 phrase (48 bars), with 28-30 bar per minute, that is 96-102 seconds to finish.  Typically would dance to the end of 5th phrase in 90 seconds.

Waltz Routine
1st wall (Long)
1. Natural turn 123
2. Running spin turn 4&56
3. Reverse turn ending VCross 223&
4. fall away slip pivot 4&56
5. double reverse over spin 3&2&3
6. Left Whisk 4 5 6
7. run around 4&2&3&
8. Ending in PP 4 5 6
9. zigzag: 1&2 3  2nd wall (short)

10. pivot and spin turn: 4& 5 6  (4& are pivots, keep it flat, 5 is spin turn rise.)
11. turning lock ending PP: 2&23
12. chasse: 4 5&6 (on the 6, goes back, instead of side)
13. natural: 3 2 3
14. spin turn: 4 5 6 (where do we need to face at the end of the spin turn? Is this an under turned spin turn?)
15. turning lock to PP: 4&23
3rd wall (Long) 
16. chasse: 45&6
17. quick open reverse + a pivot: 1&23&
18. double reverse overspin: 4&5&6
19. throw away : 223 456
20. turn around develope: 323 456
21. weave from PP 423
22. Outside change to PP 4 5 6
22. lunge roll  12&3
23. right foot lunge 456
4th wall (Short)
24. check & slip pivot 223 456
25. chasse to right. 32&3
26. tumble turn. 45&6&
27. reverse turn. 423
28. contra check. 456 (weight on R foot on 3)
29. two step forward then rounde on right foot. (1&2
30. run around ending in PP (Standing spin) (3& 4 &56), &3 step forward, & get on left foot, 123 turn into PP)
5th wall (Long)
31. wave to outside change to PP (223, 456)
32. telespin. (3&2&3)
33. outside swivel,(&456)
34. change of direction.(like a reverse turn?) (323)
35. develope on right foot, outside partner. (456)
36. outside spin.(1&23)
37. pivot, pivot. (4& 5& 6) Not sure about the rest
38. heel turn, change foot,
39. step back right foot to same foot lounge (head left)
40. shape head right,
41. shape head left, weave coming out. (what is the head out step called?)
42.  outside change to PP.

Standard Lesson with Ieva on 9/21/2011

August and September just flew by!

This is the second lesson Denis and I had with Ieva. We looked at waltz mostly, then a little bit of VW. It was a great lesson.

1. At last Sunday's lesson, we focused on space. Having a bigger space.
a. Put a dot on foot, knee, hip, shoulder, elbow, wrist, finger, neck. feeling like the space between each dots are bigger, longer.
b. Thinking of the space around the body, rather than the body itself as a way to renew/maintain the shape. Think as if there are balloons all around.
c. Think of the elbow going where the movement is going.

I asked a couple questions today
2. How to get a bigger shape on the natural turn? Keep in mind there is not much time to finish the shape though, so need to start early. Remember to keep the space big all around. do not sacrifice one part of the space to achieve bigger space on another part. For example, don't shorten the back, keep both side of the neck long (don't short the left side of the neck).

3. Running spin turn:
Don't rise completely to the end, rising after the weight is moved onto the standing foot , second rise gradually.

4. Left Whisk:
Sharron need to remember not to collapse the left side.

5. run around:
On the first step coming out of the left whisk, put right hip down, to change to a sway toward the center of the turn, (while keeping the shape to the left).

6. Promenade position:
Remember to keep the space big, not having head leaning forward into the direction.

7. zigzag: do not shift the frame when turning from PP to close position. Keep the frame (i.e. spine, elbow, arms) moving forward consistently at the same speed.

8. pivots+ spin turn: difference between pivots and spin turn. no rise on pivots? what was she addressing here?

9. Throw away then into a left foot develope: do not close the space when turning around to the develope. Need to move the hip up/forward for the develope.


VW:
1. direction: Remember to step the right foot right under partner's spine to ensure that I'm following his direction.

Standard Lesson with Ikaika 7/18/2011

I had three lessons with Ikaika this two weeks in California. We looked at Waltz and Foxtrot.

Waltz.
1. We looked at a small amalgamation:

Foxtrot
1. The frontal plane is non negotiable: Keep both side toward partner, especially in the rotational steps, since there is always a tendency to peel off one side.

2. Feather step: when Damien told me to step side to cut off partner. He was trying to make sure that my right side doesn't peel off.

3. Feather finish:
a. feel like anchoring on the left foot at the end of the first step.
b. step straight forward on the second step, turn at the end. (there is room for style differences on this)
c. Make sure that when the left foot passed the right foot on the last step, the right foot heel is down already. There is not foot rise in Foxtrot, so all the passing steps has TH TH.
'4. On the back lowering steps (Eg, last step of feather), don't try to bend the hip excessively out of context. ( This is consistant with what Ieva was saying that I was sitting back)

Standard Lesson with Anna 7/1/2011 II

In this second lesson we mostly worked on Tango.

1. Position: In tango, the shoulders are at an an angle. instead of parallel as in the other dances. This results in a strong connection.
2. How to get into position: Girl walk up and get into the position described above. Stand on the right foot.
3. In tango, foot and leg moves before the body, in all directions. Especially need to practice this on close promenade step. Try to practice it slowly.
4. Close Promenade: Close to the guy. When closing the foot, both toes are turned in (very much). This is one of the steps that is an aquired taste. As time goes, you will start to appreciate it.
5. Fall away reverse slip pivot:, V cross, Spanish drag:
a. fall away: just step backwards for 3 steps.
b. then the slip pivot step: don't think about turn, just follow the amount of the turn lead by the guy, then the forward step also, just find the step size and space to fit in. Basically this is a passive step here.
c. V cross: start with an upperbody underturned position. (Remember that this steps follows a reverse turn)
d. V cross: steps side back with a wide base, on the right foot.
e. Anna talked to Charles a little bit about the different choice of shaping here.
6. Promenade position:
a. still need to maintain vertical. Do not exaggeratedly held head way out back there behind the foot.
b. roll around partner's hip.
7. On all the reverse turns, due to centrafrical force, the internal twist in the body is felt more exaggerated than it actually is. In other words, try to exaggerate the internal twist, (i.e. shoulder keeps a left side lead shape, but turn the leg for the turn), you will end up with the right look.

Standard Lesson with Anna 7/1/2011

1. Center is the center line from head to toe. It's a line, not a point. Project the center to partner from bot side: right side aim directly at partner's center; Left side aim diagonally toward partner's right side (indirect center), creating almost a hugging feeling.

2. Project the upper body forward and upward. The upward is created by extend arms out, turn arms upward (think of turning the inside of the elbow up toward ceiling, this pull the shoulder bides down and out) and the head is turned up at the same time. Next bend the elbow and keep the left wrist straight and keep the energy expanding outward extending inside partner's frame.

3. The frontal(&back) plane.
Chest+knee -- align with ball of foot.
Head+ hip -- align with hell.
Shaping is not moving the head back, but rather project the neckline forward. (Although in our discussion of the basics in foxtrot (feather, reverse, feather finish, three step) there isn't much a a shaping figure, it was mostly about movement).

4. Think rotation of the shoulder, movement (forward/backward) of the hip.

5. Movement: pull back with the hip. The person moving back is the engine. Three aspects of movement
a. forward & backward
b. Swing: Wing the hip upward as soon as the down finishes.
c. rotation: feather step is curved to the left (for the lady) so there is a slight curvature to let the partner pass (not completely straight).

6. Movement:
a. pull back (hip really really back)
b. upswing: (hip, especially helps with heelturn).
c. knee forward (use the standing leg to drive back)
d. chest forward (really stretch)
e. head back

7 foot readiness
a. the back(next) step is ready to be placed but not really placed yet.

8. Connect: It is not just glued together, but rather a smooth connection through rotation.

9. Practice slow.

10 reverse turn slow.

Standard Lesson with Ieva on 6/1/2011

Questions:
1. Turning lock: how does the hip eye align with the ball of the foot during turning lock?
Answer: The hip eye always align with the same side foot. (left with left, right with right). It's the shoulder that may cross sometimes to the opposite foot.

2. How to do the double reverse with
The routine goes as the following:
1. chasse close.
2. quick open reverse with a pivot (1 2&3&)
3. double reverse overturned(1 2&3&)
4. left whisk (123)
5. run around.

There are a lot of syncopation and turns here. In turning, need to remember the following
a. get out of the way when in inside of the turn. This is used in after the pivot step and after the double reverse. Basically overturn a bit to get to the right position, and then step the right foot toward under the right elbow to get out of the way.
b. use arm to help partner get out of the way when on outside of the turn, this is used in the last step of the quick open reverse, to prepare for the pivot step
c. She also suggested to do another reverse turn, instead of a pivot after the double reverse to turn around.
d. on runaround, keep the inside hip (i.e. right keep) down. this helps with the turning. But to keep a nice picture, still project left/up on the shoulder/upper body.

3. How to do the develope picture line (Need to ask her on this again when Charles is around)
a. Look up/forward, not down.
b. bend left knee before stepping back.
c. there are two choices on the shaping here, which leads to either keep the lady's head left, or turn it right. Not really sure how she lead these two.
d. slight left foot forward before getting onto left foot.
d. move the weight forward to left foot, and pick up right knee.
e. extend right foot, and do both foot rise and body rise. (do foot rise if possible, can skip it if need it for balance)
f. on coming out of this figure, the first right step is around leader's left side, then the next step is around his right side. there are similarity to this in fall away whisk.
e. She also mentioned that this is a definitely a waltz picture line, with the rise and fall. And most of the picture line should be phrased on the first bar 123 in the 8 bar phrase.

4. We then worked on foxtrot a little bit.

Standard Lesson with Ieva on 5/28/2011

Questions:
1. Pivot turns are heel lead? Yes. the steps after coming down is usually a heel lead.
2. How to balance: The eyes on the hip hinge should never goes outside the big toe. Need to move foot further if needed to keep the balance.
3. a simple routine:

Standard lesson with Damien on 5/21/2011

Attendee: Sharron & Charles

1. waltz:
upper body, pick up the bra strap toward the partner.

2. foxtrot:
feather step, need to create the CBMP (more of this). Think of the waltz natural turn 123 to stay on the standing foot longer, and on the second step of the feather step, step slightly side back, feeling almost like blocking the forward movement of the guy.

3. Tango
On promenade position: sit back to the left, creating a bigger picture.

4. He also asked Charles to prepare foot earlier in all dances.

Standard Lesson with Damien on 5/18/2011

This is an individual lesson with Damien.

Waltz:

a. natural turn: stay on the left foot (the 1) for longer

b. timing the shift in the space of the upper body so that the foot movement/placement is appropriate for supporting the movement of the body.

c. chasse close: stay/extend to left as coming out.

Standard Lesson with Ian on 5/12/2011

Attendee: Charles, Sharron

This is the first time I have lesson with Ian. We worked on Foxtrot.

1. Keep left side forward (leading) in all reverse figures. So from the beginning of the foxtrot routine (feather, reverse turn, feather finish) all the way till beginning of three step, need to keep left side forward.

2. Heel turn needs to think of drilling down on the right heel.

3. Three step has a shaping to the left.

Standard lesson with ieva on 5/10/2011

1. Hip needs to travel to be directly above the ball of the standing leg.
2. hip needs to be toward the partner, not taken away from the partner.
3. Shoulder, hip and foot needs to align vertically. Elbow and arm (especially the right arm and elbow) needs to reflect the action/intention of the foot.
4. travel first, then turn.

Standard Lesson with Ieva on 3/23/2011

1. Use knee/ankle to stay on the standing leg longer
a. bend the ankle/knee to prepare leaving form the standing leg
b. bend the knee/ankle of the receiving leg to receive

2. Thinking of the hinge on the hip front has two eyes at the groin. Putting the eye down to the standing leg for every step.

Standard Lesson with Danny Quilliam 3/9/2011

Ieva's partner Danny is visiting from Montreal, so I took a lesson with him today.

1. In setting up the hold, bend the ankle to shift the body toward the partner. He can bend and shift a lot!

Standard Lesson with Damien 03/03/2011

I finally scheduled a lesson with Damien last week. We covered a lots of stuff in the lesson, a couple things that stood out was the following:

1. He told me that he feel I'm bending down too much without going forward.

I should have written down notes sooner :(

Standard Lesson with Ieva 02/27/2011

I asked a few questions at this lesson. And some of her answers are contradicting with what I think Ikaika's answer are.

1. Is 1,2,3 on danced on split weight?
No. The &'s are on split weight. And the highest point is on 3 on the ball fo the one foot, not on the split weight position while the center of the weight fall between two legs.

2. How to do throwaway oversway?
a. move the guy out of the way on the first step so that you'll be stepping forward, instead of stepping around.
b. what is the dance position we are aiming for here? The two legitimate options are close position or contra promenade position. Decide for yourself. If you are in close position, which is the traditional choice, your right hip needs to be in contact with the left hip of the partner, as in the close position.
c. make sure the guys' righ shoulder is not falling in front of the right foot. In other words, right foot is not extended too much behind the right shoulder, because in that case, the leader is adding (out of balanced) extra load to the following

3. question on the outside spin then the open natural step: how not to block the partner in this step.
a. On the open Natural before the outside spin, need to be concious to move the guy around. Almost feel like using my arms to move the guy around.
b. On the outside spin step, Lady should sway right, because the center of the turn is on the right side. (what to do with my head here then? close or turn to right? Is it like a three step kind of a right sway?)
c. On the open natural step (or whatever that's called) following the outside spin, first is to keep the sway right from the outside spin at the beginning. Then place the left foot around (out of the way) very much left, to prepare for the guy to go around.

4. Other things to pay attention to:
a. Need to move more:
Exercise for this: Lower. extend. move.
Need to do this on all steps, especially on coming out of the right lounge. This helps to the drive a lot.

standard lesson with Ikaika on 2/16/2011

Location: Dance Spectrum
Attendee: Sharron Ji

This is the third week in San Jose. Lessons start to get better. The lessons since i got back to San Jose was not as productive as they were before I moved away. I feel that it always takes some time for me to get used to a person's communication style.

Today we talked a little about Watlz and Foxtrot.
1. Keep the hip flat, forward toward the partner. Imagine the hip bones are hands or handles communicating with the partner. I suppose it is not actually really flat, but when trying to do that it prevents me from taking it away. I find that I have to have my mind focused on the hip to not to take it away. This awareness of where the hip is helps to monitor the movement of the leader, therefore I can time my turns and movement better. This will also help to put the upperbody at the right place.

2. From the turning of the standing knee and the hip to turn the moving leg, therefore direct the foot the correct place. Similarly, from the pressure of the standing foot, dividing the leg and move the moving leg to the correct place.


3. Need to look up when practicing alone.


I'm afraid that this is going to be a lonely battle from now on :(. I've tried so hard to be self sufficient. But none of that is going to work in a hobby called ballroom dancing. I don't know if I am wasting my time hoping for something that is already too late for me....

Standard Lesson with Ieva 01/26/2011

Time: 10:45am.
Location: Ballroom Off fifth
Attendee: Sharron

The snow was falling down hard on my way to the studio. I was worried that lesson today will be cancelled. But when I walked in, there are so many people in the studio. Besides the faces that I've seen before such as Jonathan, Slavy, Charlotte is also teaching there today. And the lesson with Ieva today was loaded with information.

1. Questions from last week's exercise: Does the heel of the standing leg take any weight after lowered at 3&?
Answer: No. Keep the weight on the ball of the foot, the lady would be more ready to respond to go wherever the leader is heading. She went on to say that even in Tango, she feel that having the weight at the ball of the foot enables her to respond immediately.

2. Shape:
a. first always line up foot with the shoulder to be balanced.
b. Always keep the midsection (the waist) long, during all shaping. Don't crunch one side, this is when the side is broken. It can tilt, but don't shorten one side.
c. 4 types of shape, foot/knee can be up or down, shoulder can be up or down. 4 combination gives 4 different shapes.
d. We particularly focused on the down/down shape. In the turns, the inside shapes down down. For example, Natural (L side down down), spin turn(right side downdown). reverse turn (Left side down down)....
f. There really isn't a rule to say how much shape is too much. So long as it is pretty, and you are balanced, the more the better, like a sport.

3. How to stay together with the partner:
a. bent knee, weight forward on the ball of feet, ribcage toward partner.
b. feet always face toward the partner, especially in the turns, need to face toward the partner to keep connected. When one step if you feel you are not with the partner, try to adjust in the next step on your foot to face toward partner, do not try to adjust with the upper body.

4. Foxtrot:
a. foot work: on all back ward steps, the lady roll through the heel. Therefore there is no foot rise for the lady, but the leader does have foot rise, the lady respond with body rise. The body rise feels like breathing in (stretch ribcage) on the swinging side. For example, feather step, breathe in on the rigth side on the Quick and Quick. reverse turn: breath in on the left side. feather finish: breath in on right side. three step, breath in on left side.

b. Foxtrot has a lot of outside partner steps, but feet still needs to face toward the partner so that when we bend knees, the weight is projecting through the partner.

c. Ieva then told me to lead her though the dance. She said I need to give her more ribcage, and need to have my right albew/arm reflect the movement of the right leg, right nwow the right arm is non existing.

d. Heel turn: lady is on the inside of the turn, need to ACTIVELY open the door and let the partner through, and part of this is done with the arm.

e. exercise for the right arm: do the box step with quater tunrs, with right arm matching the right leg movement.

Standard Lesson with Ieva 01/19/2011

Time: 10:45am
Location: Ballroom off fifth
Attendee: Sharron

This the second lesson with Ieva, I think I like her teaching.

1. Foot pressure exercise
a. stand on one foot, raise heel of foot, repeat 10 times on each foot.
b. stand on one foot raise heel of standing foot, free leg points out as standing foot lowers. No knee bent though.

2. Apply above foot exercise in a box step.
a, 1,2,3, is the box step. Need to make sure weight on one foot on 3.
b. 4,5,6 lower and point. (do not bent the knee yet).
c. need to make sure to maintain a wide base. do a square box, not a skewed square.
d. Once familiar with the above, do it without stoping, i.e. instead doing the lowering on 4,5,6, do it on & count.

3. Apply above foot exercise in a simple routine
1 2 3. Natural, 4 5 6 lower & point
1 2 3 spin, 4 5 6 lower & point
1 2 3 reverse, 4 5 6 lower & point
1 2 3 reverse, 4 5 6 lower & point
1 2 3 whisk, 4 5 6 lower and point
1 2 &3 chasse,4 5 6 lower and point

4. Apply above foot exercise in the waltz routine.
a. do it counting 4 5 6 for the lower and point
b. once familiar with a, do it counting only & to do the lower and point.
c. make sure to be on one foot on 3.

Standard Lesson with Ieva 01/14/2011

First dance lesson post of the year! I moved to NYC, and this is the first lesson with Ieva Pauksena.

1. Feet goes to the right under the shoulder. This provides a wider base. Get rid of the mini skirt syndrome. Leader controls where the shoulder goes, while the follower follows by place the foot directly under the shoulder. This could make the response faster too.

2. Consider the following four components: Neck, ribcage, center (abs), knee.
a. Neck and center leads the backward moves. Especially on the back steps, the feeling the lead of moving backward from the center gives the sense to the partner that you are not blocking the the partner, you give him space to move.
b. ribcage and knee project forward toward the partner. Elbow and arms (especially the right arm of the lady) goes with the ribcage toward the partner.