Infinity Ballroom Workshops
Download Dan Calloway’s Infinity Workshop Notes 20131214
Samba: Reconciling the Many Apparent Paradoxes!
Students of Samba often find the dance frustrating to learn because of the many inherent contradictions, complications and deep mysteries of the dance. Today’s workshop is about demystifying the samba through resolving the many apparent paradoxes.
Paradox #1: Samba is the primary traveling Latin dance, yet Latin dancing is primarily about rhythm, which is incompatible with progression.
Resolution: The dance travels the dancer, the dancer does not travel the dance. Focus on the production of rhythm in the body and let the choreography take care of the progression around the floor.
Paradox #2: Bounce, but don’t bounce.
Resolution: Approximately 50% of Samba figures bounce. When using bounce action, the head level should never change. The exaggerated range of motion of the feet, ankles and knees should be absorbed in the action of the hips, ribcage and back, never extending up into the head, neck and shoulders. Bounce action is also absorbed in progression and rotation.
Not all bounce figures bounce equally. There is a hierarchy of range of bounce action. Samba Walks bounce 50% of maximum, Bota Fogos 60%, Voltas 80%, etc.
Paradox #3: Frivolity and abandon are essential qualities in Samba character, but it is the most intricate dance to the most complicated music.
Resolution: Education is the key. Simplify and clarify the principles. Ruthlessly prioritize. Put the time in on this dance so that it becomes effortless for you.
Paradox #4: Every beat is a bounce action is preceded by an upward action, but this is a “down” dance.
Resolution: You can only go down if you have gone up. Achieve the weighted, earthy quality of the dance on the down beats, but precede each beat with an upwad preparation.
Paradox #5 All bounce action figures are on a bent knee, but show a straight leg.
Resolution: On a forward step, show the back leg. On a back step, show the front leg. On a side step with the right foot (Whisk), show the left leg. Etcetera.
All of dancing should be controlled abandon. The essential abandon of Samba is only possible with the control that good technique can provide. A fearful person cannot enjoy life. Get control and abandon is possible.
American Foxtrot: What Is This Dance About?
This class began with listening to the last sixty seconds of Eartha Kitt’s “My Discarded Men.” She enhances the effect of this exquisite Foxtrot with finger snapping, laughter, whistling, and even a playful tigress growl. All of these effects are clues to the many aspects of the character of Foxtrot. It should be elegant, but sexy; mature, but silly and playful; melodic, but rhythmic. Pay attention to the layers of subtext in the lyrics. Never take the fun out of Foxtrot.
Exercise #1: Forward swings the length of the floor to the timing SQQ; then backward swings. (Feather Step and Three Step, going both forward and backward for both partners) Rotate the body without turning the head on each measure.
Exercise #2 (Continuous Twinkle and Open Left Turn):
- Hover Telemark to PP SQQ
- Open Natural Turn SQQ
- Open Impetus SQQ
- Feather Ending SQQ
- Open Reverse Turn SQQ SQQ
Technique
- Be able to repeat this sequence to do laps around the room. Never overturn the Open Left Turn to turn a corner. Omit it and use the first four figures (the Continuous Twinkle) consecutively.
- Never turn the shoulders away from your partner. Be able to swivel the feet and head without turning the shoulders.
- Stay compressed in the base. To over rise is to fritter away your source of power and range of motion in the body action.
