standard lesson with Ikaika on 6/15/2012

Foxtrot:
1. I need to use the front foot to push back, not just throw the upper body back. Especially in  reverse turn, when I'm getting onto the heel turn, use the front foot for as long as possible till the heel to propel myself back, don't jump back using body weight, just let it happen as I push using the front foot.

2. On the reverse turn, the focus is not to get on the heel and stay on the heel, I need to keep in mind that I still need to keep the center of the partnership moving forward, so after I turned toward down line of dance, I need to shift weight from the heel of right foot toward the ball of the left foot, instead of pausing on the the heel of the right foot.

3. The lady can be active without disturbing the three aspects that should be controlled by the guy: a direction. b. timing, c. position. So can be active in the upper ribcage to head, can be active to respond to the shaping. But can not leave without keeping the frontal projection.

Tango:
1. when we have Try to keep the Achilles long, not the front shin part long. In tango, walking forward, the foot work is heel flat, not heel toe, so we never release the back foot to the toe, we pick up the foot when only ball of foot is still touch the ground. This keeps us from having a tendency to swing and rise.

2. Link: every walking step in tango is supposed to turn 1/16th of a turn. The last step of the link (i.e. the step I put down the left foot) should turn no more than 1/4 of a turn, so if link turns more more than that (like 180 degree in my example), the majority of the turn should be done in the back step on the right foot. Basically the guy should give me a signal on the amount of turn we need to have on the first step, then I need to make sure to read and finish the majority of the turn when I'm placing my right foot, when the turn is bigger, I need to do almost a contra check step.

3. Fall away whisk: read the turn from early on, so that the left forward step is already getting the turn.

Standard lesson with Katusha

Today's lesson we worked on foxtrot.
1. Shape:
a. an exercise is to stand with right side next to the wall, stretch left but push to the right to stretch left, so we have the equal stretch on both side. And this shape and stretch is maintained within, but supported by the partner.
b. When trying to shape head/upper shoulder back, the spine is shifted forward first, so there is a bigger contrast between the lower part of the spine, and the upper part (+ neck, head), but over all the stardum is staying at the same spot in space.
c. In prominade position, the stretch is exactly the opposite. stretch to right on the right, but stretch to the left at the base area (from above hip to bra strap area shift left, then above part stretch right).
2. spine keep toward the partner, even during the shapes. Lady's spine mirror what Leader's spine do.
3. The stretch both side somehow helped me to keep the arms connected to the body. Denis reported improvement in quickstep.
4. Reverse turn, under turn it, so that it ends with a slight rotation to the right.
5. CBM, she said to think of the two shoulders moving at different speeds.

Standard Lesson with Giampiero

Today we continued on Foxtrot. After we clarified the routine. We got into the topics below

1. Foxtrot Timing: Instead of trying to do SQQSQQSQQ, we try to do SS|&SS|&SS. i.e we change the steps from 2 1 1 measure into 1.5, 2, 0.5 measure. The reason we do this is because we should accelerate when going down, but slow down when rising. In the SQQ scheme, we are slowing in the downward movement but speed up in the rising part. In the new &SS scheme, we drag out the rising part.

2. Posture: what is vertical?  (Forgot his precise answer now). However, he emphasized on the proper alignment of the pelvic bone to establish verticality. Basically after the pelvic bone is properly directly (most likely a very slightly tucked sensation for me). It is then aligned with the center of the thigh. and the chest. This line is directly above center of the foot in Waltz and foxtrot. above ball of the foot in quickstep, and slightly behind center of the foot in tango (not sure if it is as far behind as on the heel though) . This shift depends on the amount of bend in the knee.
 The correctly alignment of the pelvic bone needs to be maintained through out the dance. This is how  it guarantees that the upper body is properly aligned relatively to lower body.

Need to double check the definition of verticality with him next time. Need to verify on the three point of alignment next time.

3. we also talked about timing the moving back of the upper body, the lower of the standing leg, the preparation of the moving leg. They need to be timed in the same way relative to each other.  I seems to have a tendency to leave the upper body forward. so he told me to release my upper body.And they will natually push my standing leg to do the Heel part of the TH movement.  Right now I often skip that. I don't put my heel down.

4. On reverse turn, we talked about the left foot closing step should happen after the heel turn is done, and as soon as I close, I'm ready to go forward, so this is a forward step, not a backward step.  This would make it easier to

5. Use the leg that is ahead of the movement as soon as possible. Feel like a horse dragging the carriage, not pushing the carriage. When going backward, same principle, feel like the foot is like the wheels of the car when driving backward.

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 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.

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.

Standard Lesson Notes with Ikaika on 11/7/2009

Time: Saturday, 11:45am
Location: Spectrum
Attendee: Sharron, Daniel

Today we worked on the sway and shaping in both Foxtrot and Waltz
1. The reverse turn in Foxtrot (i.e. the a heel turn after feather) is a left turning figure for the man, therefore a right turning for the lady, therefore a sway to the right. This sway to the right helped with the turn for the lady, it also create an invitation for the man to pass through. The sway is neutralized only at the slow at the beginning the feather finish. Don’t change it back too early. But mean time, the head needs to be kept in the left space still (i.e. the lingering effect still desired).
2. Ikaika worked with Daniel on the heel turn, regarding where to step the foot.

Standard Lesson Notes with Ikaika on 10/30/2009

Time: Saturday, 11:45am
Location: Spectrum
Attendee: Sharron

This is the lesson that I found my ankle? We worked a bit of foxtrot and some QS.
Ikaika talked about using the ankle. I realized that you can actually flexing the ankle without flexing the knee much. The end result is that the vertical line of the body is shifted forward, more toward the partner.
There are three major joints we need to use to generate the drive: hip, knee and ankle. He is commenting on that I use knee, but not much of hip and ankle.

Standard Lesson with Ikaika on 9/16/2009

Location: Dance Spectrum.
Time: 4pm
Attendee: Sharron

Today we worked on Foxtrat.

1. Heel turn: need

a. Do not get back on the heel immediately, go through the foot before getting back to the heel. Seems like only the turn is on the heel, other time still on the front part of the foot.

b. Keep the weight forward still.

c. Use the energy on the standing foot. This is the inside turn position.

d. Always start on the slow.

2. 4 positions of the foot: inside front, outside front, inside back, outside back.

a. exercise: go round in circles and figure 8 to feel weight on the different positions

b. make sure that the shift the weight from the lower body, not by tilting the upper body.

3. Send the lower body, not tilt the upper body, especially on the weave step. Upper body moving with the lower body, like a candle moves with the candle stand.

4. weave: direction of the foot is toward the partner.

5. Always shows the energy, and contribute in an equal position, even when practicing the skills. But energy doesn’t mean always moving forward, it means pressing the floor, use the standing leg.

6. Thinking the use of the energy through the foot, from the toe, to ball to arch to heel.

7. Remember the choreography: heel turn all started on slow.

Standard Less with Ikaika on 6/1/2009

1. Waltz,
1) whisk in waltz
a. both should keep upper body toward each other. and keep it that way, only turn the head to prominent.
b. leader's steps are going forward as well as side way, not only sideway.
c. on the chasse step, follower should turn the head back in sync with the foot in before the landing of 2.
d.

2 foxtrat
0) choreography,
feather,
reverse turn,
feather finish,
natural turn,
weave,
reverse turn (heel turn) with lilting action,
check,
weave with feather finish,
three step

1) heel turn:
a. An excercise to put the baby on the heel to feel the where of the weight of the follower is.
b. Don't rise too much on the heel turn. One should be able to do a heel turn without rising at all.
c. Don't shift weight too early, most of the turn is done on the heel of the first foot.
d. the turn is done through a sway.

2) lilt?
a. up down up down.
b. Don't stay on the check too long, the going down is for going out.

3) natural turn, leader get to the left of the follower. and get down, put the follower's weight on her heel, so that there is enough drive to come out to do the weave.

4) weave