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?
Wednesday, May 5, 2010
Tuesday, April 27, 2010
Standard Lesson with Olya 4/27/2010
Attendee: Sharron and Daniel
Olya first commented on our competition on Saturday. She asks Daniel to show more confidence. She asked me to not drop my right hip, I should pick up the right hip so that my upper body can stay left. She also said I should relax my shoulder and neck, put the upper body forward, not shoulder and neck.
Today we tried to work on some elements in our new Waltz routine.
1. kick to rounde, to slip pivot.
a. on the challenge line, weight is on the heel first, then move to ball to turn around to be in close position.
b. on the kick, need to lift the heel of the standing leg as well, also need to pick up the right hip toward the partner.
c. the slip pivot need to wait for the partner to turn.
2. Chasse right to quick open reverse to tumble turn to slip pivot into throwaway oversway.
a. I need to remember to keep to the left though out chasse, and quick open reverse.
b. in the tumble turn, need to use the standing leg (the left leg) to get into the tumble turn.
b. the slip pivot steps are small.
Olya first commented on our competition on Saturday. She asks Daniel to show more confidence. She asked me to not drop my right hip, I should pick up the right hip so that my upper body can stay left. She also said I should relax my shoulder and neck, put the upper body forward, not shoulder and neck.
Today we tried to work on some elements in our new Waltz routine.
1. kick to rounde, to slip pivot.
a. on the challenge line, weight is on the heel first, then move to ball to turn around to be in close position.
b. on the kick, need to lift the heel of the standing leg as well, also need to pick up the right hip toward the partner.
c. the slip pivot need to wait for the partner to turn.
2. Chasse right to quick open reverse to tumble turn to slip pivot into throwaway oversway.
a. I need to remember to keep to the left though out chasse, and quick open reverse.
b. in the tumble turn, need to use the standing leg (the left leg) to get into the tumble turn.
b. the slip pivot steps are small.
Standard Lesson with Ikaika 4/26/2010 (Waltz Routine)
Attendee: Sharron & Daniel,
We got our brand new open routine in waltz!!! How exciting!!!
Would be a lot to work on though...
Starting diagonal wall, at the end of the short wall:
natural turn 123
spin turn 456
turning lock 1&23 (opened to promenade, already DC on the long wall)
chasee to left (12&3)
quick open reverse (12&3)
tumble turn (12&3)
throw away over sway(123 456)
recover to prominent (123, step out on 3)
open natural turn (123),
outside spin (1 2 3) sharron turns on the right foot, left foot close to right foot.
open natural turn (123)
progressive lock step/turn) (123&) ( Viennese cross, sharron goes arround the left of Daniel).
open telemark (123)
turning lock from PP (12&3)
right foot lounge (123)
recover (12)
slip pivot (3)
chasse right(12&3)
progresslock step/turn(123&)
fall away(123)
chasse right(12&3)
outside change to PP(123)
challenge line (12)
kick thing (3)
rounde slip pivot(123)
chasse right(12&3)
back lock(12&3)
back wisk(123)
weave from PP (123)
outside change (123)
chasse (optional)
back beginning.
We got our brand new open routine in waltz!!! How exciting!!!
Would be a lot to work on though...
Starting diagonal wall, at the end of the short wall:
natural turn 123
spin turn 456
turning lock 1&23 (opened to promenade, already DC on the long wall)
chasee to left (12&3)
quick open reverse (12&3)
tumble turn (12&3)
throw away over sway(123 456)
recover to prominent (123, step out on 3)
open natural turn (123),
outside spin (1 2 3) sharron turns on the right foot, left foot close to right foot.
open natural turn (123)
progressive lock step/turn) (123&) ( Viennese cross, sharron goes arround the left of Daniel).
open telemark (123)
turning lock from PP (12&3)
right foot lounge (123)
recover (12)
slip pivot (3)
chasse right(12&3)
progresslock step/turn(123&)
fall away(123)
chasse right(12&3)
outside change to PP(123)
challenge line (12)
kick thing (3)
rounde slip pivot(123)
chasse right(12&3)
back lock(12&3)
back wisk(123)
weave from PP (123)
outside change (123)
chasse (optional)
back beginning.
Standard Lesson with Gherman Mustuc on 4/23/2010
Attendee: Sharron & Daniel
We worked on waltz, in particular the steps that turns into prominent positions.
1. turning lock in to prominent
2. natural spin turn
3. telemark
4. ? what is the other one?
Sharron need to remember to go straight forward pass the partner, not going around.
We worked on waltz, in particular the steps that turns into prominent positions.
1. turning lock in to prominent
2. natural spin turn
3. telemark
4. ? what is the other one?
Sharron need to remember to go straight forward pass the partner, not going around.
Saturday, April 24, 2010
Standard Lesson with Ikaika on 4/23/2010
Attendee: Sharron
Today we looked at foxtrat.
1. The head position: think about looking for people behind the bunch of flower. You don't just tilt your head, you stretch the neck and upper body to left and around.
2. the exercise of pick up right foot direction up, but left foot diagonally up (bicycle ride). So that we leave space for the partner's leg to come through. This applys to feather step on the first slow, to have the left foot a little to the side to allow the leader's foot come through. (Is this similar to put the left foot under the elbow?)
3. Sway on the feather step QQ: A little like the natural turn in waltz, but without turning, rather to move through space. To achieve this sway, must keep the upper body on the standing leg (left leg) for longer, so that when the hip opens, it creates the contrast of sway. The right foot can turn out slightly a little. Keep the head to the left would help creating this sway.
4. We also talked about the starting of the sway, which is almost started from the slow of the feather step. I think we talked about creating the crease between the end of the leg and the hip here. Not sure what it was about though. We also talked about that the other day in waltz, also don't remember it :(
5. Ikaika mentioned something about Loraine's movement in the Foxchatrat. Don't really remember what it was about though.
6. Last thing is that I asked him about the reasons behind the steps he picked for the choreography. He said he pick the steps according to 2 principles:
a. Pick the steps to to teach the different positions that one need to learn at different level.
For example wing in waltz to learn the wing position, though this is not really used in open routines. the fall away step in silver tango so that I can learn fall away.
b. Pick the steps so that it maintains the charactor of the dance: for example Waltz is swing and movement dancing, but there are lots of steps in syllabus that doesn't move much, so he skipped those.
Today we looked at foxtrat.
1. The head position: think about looking for people behind the bunch of flower. You don't just tilt your head, you stretch the neck and upper body to left and around.
2. the exercise of pick up right foot direction up, but left foot diagonally up (bicycle ride). So that we leave space for the partner's leg to come through. This applys to feather step on the first slow, to have the left foot a little to the side to allow the leader's foot come through. (Is this similar to put the left foot under the elbow?)
3. Sway on the feather step QQ: A little like the natural turn in waltz, but without turning, rather to move through space. To achieve this sway, must keep the upper body on the standing leg (left leg) for longer, so that when the hip opens, it creates the contrast of sway. The right foot can turn out slightly a little. Keep the head to the left would help creating this sway.
4. We also talked about the starting of the sway, which is almost started from the slow of the feather step. I think we talked about creating the crease between the end of the leg and the hip here. Not sure what it was about though. We also talked about that the other day in waltz, also don't remember it :(
5. Ikaika mentioned something about Loraine's movement in the Foxchatrat. Don't really remember what it was about though.
6. Last thing is that I asked him about the reasons behind the steps he picked for the choreography. He said he pick the steps according to 2 principles:
a. Pick the steps to to teach the different positions that one need to learn at different level.
For example wing in waltz to learn the wing position, though this is not really used in open routines. the fall away step in silver tango so that I can learn fall away.
b. Pick the steps so that it maintains the charactor of the dance: for example Waltz is swing and movement dancing, but there are lots of steps in syllabus that doesn't move much, so he skipped those.
Thursday, April 22, 2010
Standard Lesson with Ikaika on 4/21/2010
Attendee: Sharron
Today we worked on waltz.
1. Again to establish/sink the body weight onto the standing leg when getting into the position. Lay the left shoulder blade down, don't hold it up.
2. Use hand to communicate, to touch, feel and monitor where my partner is going.
3. Handing over weight from one foot to the other, use the standing leg longer. i asked the question regarding using the heel to push while moving back, how to prevent the heel from slipping. Ikaika said that if you didn't move your body back too early, you won't have the heel slipping, Basically, you use the foot to the move the body back, not the body moving back by itself.
We tried this idea of using the standing leg to its full extend on a few figures:
a. open impetus. Using the standing leg from right foot to left foot, then pressing the floor to propergate that energy THROUGH the body to the neck and head to turn to prominent.
b. on the wing using the left foot to hand over the weight, while feeling the sway and the rotation, to lead to the body turning, and the head turning, instead of artificial head turning.
Today we worked on waltz.
1. Again to establish/sink the body weight onto the standing leg when getting into the position. Lay the left shoulder blade down, don't hold it up.
2. Use hand to communicate, to touch, feel and monitor where my partner is going.
3. Handing over weight from one foot to the other, use the standing leg longer. i asked the question regarding using the heel to push while moving back, how to prevent the heel from slipping. Ikaika said that if you didn't move your body back too early, you won't have the heel slipping, Basically, you use the foot to the move the body back, not the body moving back by itself.
We tried this idea of using the standing leg to its full extend on a few figures:
a. open impetus. Using the standing leg from right foot to left foot, then pressing the floor to propergate that energy THROUGH the body to the neck and head to turn to prominent.
b. on the wing using the left foot to hand over the weight, while feeling the sway and the rotation, to lead to the body turning, and the head turning, instead of artificial head turning.
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