DANce StepsNotes from Dan

GUBDT 12
December 3, 2014

Advanced Viennese Waltz

1. Natural Turn 7 Bars
2. Back Change Step 1
3. Reverse Turn, starting with 4-6 7
4. Fwd Change Step 1

Fleckerl Group

1. Reverse Turn into center of room
2. Reverse Fleckerl 7
3. Contra Check 1
4. Natural Fleckerl 8
5. Natural Turn

Fleckerl Technique

1. The two halves of a Fleckerl are the “Spot Volta” and the leader’s “Natural Top.”
2. Take turns being the center of the turn when each partner dances the Spot Volta half.

VW Technique

1. Keep center of gravity low throughout VW
2. Going backward: move off the line of travel slightly to open the door for your partner
3. Going forward: Use a heel lead and drive through your partner
4. Natural Turns have more shape, to the point where the follower may turn her head to the right on steps 4-6.
5. Turn corners with Naturals for ease or overturned Reverses for effect.
6. Change Steps are inefficient. Use them sparingly and never at corners.
7. Every bar of the Natural Turn is two steps of a Feather Step and a close. Every bar of the Reverse Turn is two steps of a Three Step and a close

Frame Guidelines

1. The man’s frame is square; the lady’s frame is round
2. Keep the body turned rightward toward partner to keep the right arm more forward and the left arm more back.
3. The lady should slide her torso to her left, not tilt it, in order to keep the shoulders level and to prevent the look of a dropped right arm. Have partner monitor this level arm and shoulder line in the mirror.

Paso Doble: Sixteen (bronze) and La Passe (silver)

1. The follower’s dances three “Bota Fogos” over counts 6-14. The man and lady must know the outer limits of the three BF’s are reached on counts 7, 10 and 13.
2. The man struts forward, outside partner, on steps 7, 10 and 13 of La Passe. His shape change leads her direction changes on each BF: Pick up a side to stop and redirect her.

Beginner Foxtrot

Begin facing DC with a prep step on count 4.

1. Feather Step SQQ
2. Reverse Turn SQQ SQQ
3. Three Step SQQ
4. Natural Turn SQQ SSS

Foxtrot Technique

1. The leader ends outside partner on the last step of the Feather Step and Reverse Turn. The follower has no outside partner steps.
2. Heel Turns: The follower begins the Reverse and Natural Turns with a Heel Turn. If the Heel Turn starts with the right foot it ends with the right foot, and vice versa. All Heel Turns end with Toe-Heel, not Heel-Toe.

Viennese Waltz

Begin facing DC

1. Natural Turn 4 Bars
2. Right Foot Change Step 1
3. Reverse Turn 4
4. Left Foot Change Step 1

VW Technique

1. Dance efficiently: Do not speed up, slow down or rise.
2. “Open the door” for your partner on the backward half of turns, using a pigeon toe action.
3. Drive forward with a heel lead on the forward half of turns.
4. Turn corners by using underturned Natural Turns.

Samba

Begin facing Wall. Every figure is eight counts.

1. Basic Movement, turning ¼ to L to face LOD
2. Reverse Turn, end facing Wall
3. Four Whisks, end in PP
4. Four Walks
5. Four Whisks

Technique

1. Do not exaggerate the bounce action or let the bounce action get into the frame. Keep the frame still.
2. Not all figures bounce equally. Bounce in the Walks is minimal.

Intermediate VW: See Advanced VW (except for the Fleckerls)

Paso Doble

Begin facing Wall.

1. Chasse to R in lowest position, with Promenade Shape 1-4
2. Chasse to R in highest position, with Counter Promenade Shape 5-8
3. Drag 1-4
4. Sur Place, with Counter Promenade Shape 5-8
5. Traveling Spins in CPP, end in PP, moving to Center 1-8, 1-2
6. Promenade Link, end facing LOD 3-4
7. Drag 5-8

Follow with the Separation or Sur Place turning to R to restart routine.

Four Levels

1. Depression (Drag, Chasse to R, Appel)
2. Normal (walking actions)
3. Sur Place (heels up, knees flexed)
4. Elevation (heels up, knees straight), used on count four of Promenade Link

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GUBDT 11
November 19, 2014

Advanced Standard

Know the rules for CBM and Sway:

1. Sway and CBM never occur on the same step
2. If the swing begin with the right foot, the sway is to the right, and vice versa
3. CBM is stronger when turning to the right
4. Sway more to the left than to the right
5. Besides being beautiful, sway enables power dancing. More speed is available with the increased control achieved by using sway well. Bank your turns.

Be able to say the CBM and Sway for the Basic Amalgamation in Foxtrot and Waltz. Use the technique book.

The sway for the leader’s Natural Weave is, “Straight, right, straight, left, straight, right, right.”

Sway enables the follower to close her feet easily in heel turns. Otherwise, stopping to close is too difficult or forced.

In competition, do not dance down. If there is no room to dance a figure well, choose a different figure or hover/wait for one measure.

Advanced Rumba

Beginner Waltz/Quickstep/Tango: Review

The basic timing of Tango is QQS.

Foxtrot

1. Feather Step (SQQ)

Leader: Start with right foot; use footwork HT, T, TH; end outside partner on last step

Follower: Start with left foot

2. Three Step (SQQ)

Leader: Start with left foot; use footwork H, HT, TH; all steps are in line, not outside partner

Follower: Start with right foot

Followers: Release the front toe on every back step.

Review Rumba/Cha Cha/Jive

To be sexy, keep your head still and isolate the hip action on every step. This isolation also creates the best possible quality of movement.

Samba

The bounce action is counted, “1&2&, etc,” with equal emphasis on the up and down action.

The foot timing is 1a2, 1a2, etc.

Our two figures are the Basic Movement (1a2 1a2 1a2 1a2) and Four Whisks (1a2 1a2 1a2 1a2)

Intermediate Standard

1. Begin each swing dance with a bold side step to the leader’s left for one measure, turning to his right. Then to step to his right, turning to his left. Remember to descend to extend the leg to the side.
2. Remember the two warmup exercises: a) Turn the body without turning the head, and b) Turn the feet and head without turning the shoulders

Quickstep: Review Heel Pivot group (side two of bronze routine). Focus on keeping the body rotated to the right to your partner and your head rotated slightly to the left away from your partner, especially on outside partner steps.

Waltz

Chasses and Locks should be counted “12& (3) &,” with no step on the 3. Practice consecutive chasses in promenade position with this timing, then Progressive Chasse to Right, Back Lock, Back Whisk and Chasse from PP

Rumba

1. Never stand on or leave a bent leg. The standing leg is always straight, especially as you leave it to step back. It is the contrast between the straight standing leg and the extreme bend in the moving leg that creates the beauty.
2. The frame in Latin is as important as the frame in standard. Do not drop the free arm. Instead, use it to frame and present your dancing.

Latin Cross Checklist

1. Front foot almost straight, back foot turned out almost ninety degrees
2. Legs closed from crotch to calf
3. Keep the legs closed in bounce actions.
4. Back heel as high as possible with the ball of foot on the floor on inside edge

 

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GUBDT 10
November 12, 2014

Advanced Standard Technique

1. Sway is never used on spins, pivots or four step figures, like chasses and locks.
2. Leaders: Keep right elbow higher than you think when swaying to the right.
3. Followers: Keep the left elbow up at all times.
4. Dodgers: Be ready with an emergency figure for every possible occasion
5. Fishtail: Begin with a Right Side Line, facing DC. End facing DW. SQQQQS

Advanced Latin: Ohio Star Ball Judge “Deal Breakers”

1. Bad posture. Focus on the triangle from top of head to the two shoulder points
2. Vague musicality
3. Lowered focus
4. Unsupported or weak arm lines
5. Sluggish or unarticulated foot actions

Beginner Waltz/Quickstep: Review.

Be able to write the names of every figure in every routine on paper. That is the menu. Once you have mastered the menu, the meal (the real dancing) can begin.

Tango: Group 3

1. Progressive Link QQ
2. Natural Promenade Turn SQQS
3. Rock Turn QQS QQS

Tango Technique

1. Followers: Roll your hips around to the back of his hip to turn to promenade position

Leaders: Roll your hip around her hip to close from promenade position on step two of the Natural Promenade Turn

2. The Rock turns ½ to the right. (QQS) The Closed Finish turns ¼ to the left to end facing DW.

Rumba/Cha Cha: Review

Latin Technique

1. Isolate the twist action in Closed Hip Twist
2. Keep feet on the floor
3. Change weight with pressure in the feet and without any rise and fall at head level.
4. Fast feet are expressive feet. Get each foot into place as soon as possible to have time to dance the action on each step.
5. The Solo Spot Turn has three spots.

Jive: After the Mooch, add Jive Walks (1,2 3a4 3a4 SS QQQQ)

Intermediate Foxtrot: Review Bronze Routine

Quickstep: Review

1. NST
2. Heel Pivot
3. Double Reverse Spin
4. Progressive Chasse to R
5. Back Lock
6. Running Finish (at corner)
7. Forward Lock

Rumba/Cha Cha: Full Bronze Routine

Latin Technique

1. Energize the spine and focus, even when tired.
2. Turn the head with snap
3. Dance expressively: Sharp stepping actions.
4. Cha Cha hip action is created by moving the femurs, not the hips directly. Wrap one thigh around the other to pass the thighs in lock steps.
5. Foot speed is achieved with 1) Foot Pressure 2) Focus on the larger muscle groups of the hips and thighs 3) Sharp action of the lower legs to take each step.
6. Use “sticky eyes” to fix your gaze longer. Especially, have a “moment” between each of the NY’s and Hand to Hands
7. Remember the three ballet arm positions (base, first and second). Leaders: Use a higher NY arm on the first Half Basic in Open Position.

 

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GUBDT 9
Nov 5

Advanced Tango: Complete Silver Routine

1. “Latin dancing is about compression.” (Donnie Burns) So is Tango. Never lose the compression.
2. The three alignments of the body in Promenade Position are 1) Head and Feet 2) Shoulders (toward partner) and 3) Hips (turned out almost as much as the feet)
3. The Line Figures of the Silver routine are, in order of appearance, Challenge Line, Right Lunge, Spanish Drag, Right Side Line, Challenge Line, Back Contra Check and Spanish Drag.
4. Oppose your partner’s head weight with your own head’s weight at all times. The Drag is the most spectacular example of this opposition.
5. When the weight change is delayed until the “and” after a slow, the delay is either a Press Line (Step one in PP) or a moving leg and foot without weight.

Samba

1. Walk in PP 1a2
2. Side Walk 1a2
3. Two Criss Cross Bota Fogos (Lady overturns second BF to end in a Latin Cross             1a2 1a2
4. Maypole 1a2a3a4a5a6
5. Lady’s Spot Volta to L to end in wrapped arms 1a2
6. Rolling off the Arm (2x) M: 1a2 1a2 1a2 1a2  L: 1&a2 1a2 1&a2 1a2
7. Reverse Turn 1a2 1a2 1a2

Beginner Waltz

1. Practice Rise and Fall without moving feet while counting “123.”
2. Practice alone with a book on each arm.
3. Oppose your partner’s head weight with your own head weight at all times.
4. Step five of the leader’s NST is taken with a heel lead, facing DC.

Quickstep Routine

1. NST SQQ SSS
2. Progressive Chasse SQQS S
3. Chasse Reverse Turn SQQ
4. Progressive Chasse SQQS
5. Forward Lock SQQS
6. 1-3 Natural Turn SQQ
7. Tipple Chasse to R (Corner #1) SQQS QQS
8. Quarter Turn to R SQQS
9. Progressive Chasse SQQS
10. NST (Corner #2) SQQ SSS
11. Progressive Chasse SQQS
12. Forward Lock SQQS

Restart.

Tango/Jive: Review

Intermediate Foxtrot: Complete Bronze Routine

1. Foxtrot is the only dance which has sway on every figure.
2. The hips always swing to the side, away from the first step of the figure. If the figure begins with the right foot, the hips swing to the left on steps one and two.
3. Keep the shoulders level for now.
4. Oppose your partner’s head weight at all times. Remember the exercise where we each placed a hand on the near side of our partner’s head, to defend our personal head space.

Waltz: Bronze Routine through 1-3 Underturned Natural Turn and Outside Change

Samba: Review Bronze Routine

Rumba: Spirals

1. Alemana
2. Hand to Hand
3. Spiral to Aida
4. Cuban Rock
5. Solo Spot Turn

Remember the Rumba Walk Exercise with a Spiral on every third step.

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GUBDT 7
Oct 29, 2014

Advanced Rumba: Silver routine with emphasis on turn technique

1. Spaghetti Mop Analogy: Turn the handle of the mop and the spaghetti strings fly outward. Likewise, turn the top of the body first and the lower half of the body turns later.
2. Turn usually belongs to the following step in the figure. At first, turn on the “and” before the next step. Eventually, turn even later. Aim to turn on the same count as the next step, even though that timing is impossible.
3. Use the pressure of both feet on the floor to leverage all turns.

Tango: Figures 1-4 of silver routine

1. Be able to count in S’s and Q’s, as well as numerically (1-8).
2. Step on the second half of the slow unless the step is a checking action.
3. Stay positive in promenade position: Sides, jawline, eyes up; elbows out; shoulders turned toward partner

Beginner Waltz: Review NST

Quickstep: Review Tipple Chasse to R

Tango: Review Groups One and Two. Group One may be danced without the two Walks, or the Walks can curve to go around corners

Rumba/Cha Cha: New Routine

Arm preparation on counts 1-3 (1-4 in Cha Cha)

Prep Step to side on count 4 (count 1 in Cha cha)

1. Three NY’s
2. Alemana, ending with leader’s feet closed, follower’s left foot forward
3. Closed Hip Twist, ending in Fan Position
4. Hockey Stick
5. Three Cha Cha Chas (Cha Cha only)
6. Half Basic
7. Alemana, ending with step to side
8. Three Hand to Hands
9. Solo Spot Turn

Restart with NY’s.

Jive

Begin in Open Position

1. Whip Throwaway 1,2 3a4 5,6 7a8
2. Whip 1,2 3a4 5,6 7a8
3. Mooch
4. Change of Places R to L (Under Arm Turn to Lady’s Right)
5. Change of Places L to R (UAT to Lady’s L)

End in Open Position. Restart.

Intermediate Samba: Complete Bronze Routine

Foxtrot: Review 1-4 Reverse Turn and Basic Weave

If lady incorrectly steps outside partner after her Heel Turn, the man has not stepped forward on step two, wrapping his step around her far enough.

Next week: Natural Weave and Change of Direction (to complete the bronze Foxtrot)

Waltz

1. Review Double Reverse Spin
2. At Corner: Underturned Natural Spin Turn, Reverse Corte (turning ¼ to L) and Back Whisk

Quickstep

1. Underturned Natural Spin Turn SQQ SSS
2. Heel Pivot (Lady: 4-6 Reverse Turn) SQQ
3. Double Reverse Spin SSQQ
4. Progressive Chasse to R SQQS
5. Back Lock SQQS
6. Running Finish, turning ¼ to R QQS
7. Forward Lock, facing DW of new LOD SQQS

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GUBDT 6
October 15, 2014

Advanced Foxtrot

Into a corner:

1. Three Step SQQ
2. Underturned Natural Telemark SQQQQ

Moving down next side of room:

3. Open Telemark, Natural Turn, Underturned Outside Swivel              SQQ SQQ S

4. Weave from PP SQQ QQQQ

If the two unphrased figures (Nat Telemark and Outside Swivel) are not paired to cancel each other out, add a slow to the Outside Swivel (two slows total) or add two quicks as the leader moves backward in the Weave. Neither of these two phrasing corrections is legal in syllabus competition.

Samba Roll Differences

1. Reverse Roll crosses in front, Natural Roll never crosses
2. Rev is smaller; Nat uses heel leads and is much bigger
3. Rev leads with the head, Nat leads with the base (knees when going forward, butt when going backward)
4. Rev works better in Shadow Position, Nat is better closed.

 

Beginner Waltz: New Amalgamation

1. Underturned Natural Spin Turn
2. 4-6 Reverse Turn
3. Reverse Turn
4. Whisk
5. Chasse from PP

The Whisk can be used to turn a corner.

Quickstep: Review Tipple Chasse to Right at corners

Tango: New Group One

1. Two Walks SS
2. Progressive Link QQ      (The leader should be ahead of the follower in Promenade Position.)
3. Closed Promenade SQQS

Rumba/Cha Cha: Review Fan, Hockey Stick and Three Cha Cha Cha’

Intermediate Foxtrot:

New corner group to complete the first two sides of the room of the bronze routine

1. 1-4 Reverse Turn SQQ S
2. Basic Weave QQ QQ QQ

Quickstep: Review first two sides of room of bronze routine

Tango: Review groups 1-4

Tango Technique

1. To dance the Progressive Link, the leader turn his top to the right while the follower turns her base (and head) to the left.
2. The follower’s head is always angled away from her partner: right eye higher in closed position, left eye higher in PP

Samba: Bronze routine through Solo Spot Voltas

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GUBDT 5
October 8, 2014

Video Party II

1. Review advanced class Jive video with commentary
2. College comp video commentary
3. NDCA Gold Syllabus Videos with commentary
4. DanceSport International (DSI) Fashion Commentary for professional Ballroom and Latin at Blackpool
5. WDSF Technique Book for Latin and Ballroom

Advanced Jive: Compete Gold Routine, except Curly Whip

Foxtrot: Review Five Telemarks

Next Time: Open Telemark, Natural Turn, Outside Swivel

Beginner Waltz

After Reverse Turn, instead of LF Closed Change:

1. Whisk (123)
2. Chasse from PP (12&3)

Quickstep Corner Combination:

1. 1-3 Natural Turn SQQ
2. Tipple Chasse to R SQQS QQS

Rumba/Cha Cha

1. Fan
2. Hockey Stick

Intermediate Jive/Rumba/Cha Cha: Review Full Bronze Routine

Tango: Groups 1-4

Samba: Whisks and Under Arm Turns

Keep frame solid, steady and isolated from the body actions

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GUBDT 4
October 1, 2014

Advanced Jive: New Figures (after two Simple Spins)

1. Chugging
2. Change of Places L to R
3. Toe Heel Swivels QQS QQS 123456 (7) a8
4. Jive Walks QQ QQ QQ
5. Stalking Walks, Flicks into Break QQ QQ QQ; QQ QQ QQ QQ; 1 (23) a4
6. Fallaway Throwaway 3a4 3a4

Jive Technique

1. Dance in as many dimensions as possible.

Example: Stalking Walks: 1) Rotate/Twist; 2) Lateral hip swing; 3) Porch swing (forward and backward inclination); 4) Forward progression of figure

2. Make every step/movement as definite as possible. Make a statement.
3. Be definitive with every change of connection.

Foxtrot: Review the five Telemarks

Remember Erica’s reference to Igor Pilipenchuk’s teaching that the hands need to move opposite the head when outside partner: Head stays forward and to the left; hands move back and to the right. This flexibility is sometimes referred to as hanging out the laundry, paddling a canoe or sweeping the floor.

Beginner Waltz: Basic Amalgamation

1. Natural Turn
2. RF Closed Change
3. Reverse Turn
4. LF Closed Change

Three Differences Between Natural and Reverse Figures

1. Nat turns right; Rev Turns left
2. Nat starts DW; Rev starts DC
3. Nat starts with leader’s RF (follower’s LF); Rev starts with leader’s LF (follower’s RF)

Outside vs. Inside of Turn

Outside of a Turn: When going forward into a turn, take bigger steps to get past your partner.

Inside of a Turn: When going backward into a turn, take smaller steps to enable your partner to pass you more easily.

Four Priorities for Competition

1. Posture/Frame/Silhouette
2. Movement, including big steps in standard, body action in Latin, and quality of movement in everything
3. Musicality
4. Charisma

The biggest step in the Waltz is on count two, not count one.

Quickstep/Tango/Rumba: Review

Cha Cha: Three Cha Cha Chas Backward and Forward

Jive: Mooch

Intermediate Jive: Complete Bronze Routine

1. Leaders: Focus forward on first Stop and Go. Turn head sharply back to partner on second one.
2. Followers: Use double spotting on American Spin
3. Never dance square. The body should always be angled to look better and to prepare turns.

Rumba/Cha Cha: Complete Bronze Routine with two changes:

1. Natural Top: Dance only one measure unless it is a particularly good figure for you.
2. Cha Cha: Extend the Hockey Stick with two more locks (a total of three), instead of Three Cha Cha Chas Backward and Forward

Waltz: Double Reverse Spin (123&)

Quickstep/Foxtrot: Review

Remember to dance “skinny” on outside partner steps: Angle the body.

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GUBDT 3
September 24, 2014

Advanced Jive

Choreography: After Change of Places R to L with Extra Spin (figure #4):

5. Overturned Ch of Pl L to R 1,2 3a4 3a4
6. Simple Spin 1,2

Repeat figures 5 and 6.

Jive Technique

1. The posture is forward. The body language is the opposite of apathy or slouching.
2. Prepare the first step of every dance with a prep action. In the Jive, dance a bounce action with a compression of the knees on count six, then spring back into the first Back Rock on 7,8.
3. Throughout the Jive, keep the connected arms tight to each other, but flexible, especially during figures of great spacing change, like the Mooch.
4. The follower’s R arm should stay “closed” (in front of her shoulder) during under arm turns and not “open” (out to the side).
5. Dance any dance routine without moving the feet, using only body action, to get the rhythmic priority and action right for the dance.

The Five Foxtrot Telemarks (All are SQQ, except the Natural Telemark. All have Heel Turns, except the Hover Telemarks.)

1. Closed
2. Open
3. Hover Brush toward the other foot, not to the other foot, for both Hover Telemarks.
4. Hover to PP
5. Natural SQQQQ

Three Types of Heel Turn

1. No Turn (as an exercise figure only): Back (TH), close (HT), forward (TH)
2. Normal: Step three is forward. Examples: Follower’s bronze Foxtrot heel turns; Leader’s Open Impetus
3. Overturned: Step three is to the side. Examples: Double Reverse Spin, all Telemark heel turns, Closed Impetus

Video Party (8-10 pm)

Latin:

1. Urban Dance Camp: “Blurred Lines”
2. NDCA Syllabus Figures
3. Riccardo and Yulia: “Feelings” (Rumba)
4. Max and Yulia: “The Beat” (Samba)
5. Max and Yulia Basic Samba

Standard:

1. Blackpool 2014 Pro Semi Waltz
2. Victor Fung and Anna Mikhed: Beethoven’s “Fifth” (Tango)
3. 2006 Classic Showdance: Garry Gekhman Robot Tango
4. Massimo Georgianni Tango
5. Basic Waltz Mirko and Alessia
6. Basic Quickstep Egils Smagris
7. Viennese Waltz Routines MIT

Latin Championship Intro Dances:

1. WDSF Finland Open 2014
2. WDSF International Open Latin Final

Beginners

Waltz: Review

Quickstep: Add Rise and Fall (Say, “Down, Up, Up, Toe-Heel”)

Tango Choreography

Begin with leader facing DW.

1. Two Walks, curving to face DC SS
2. Reverse Turn, Lady Outside QQS QQS

End facing DW to restart.

Remember the intro to Tango choreography:

1. Closed Box QQS QQS
2. Open Box QQS QQS

Dance two of each type of Box Step to practice to get the feeling of Tango timing and movement.

Rumba/Cha Cha/Jive: Review

Intermediate Rumba: Review

Cha Cha: Dance the Cha Cha version of the Rumba routine.

Rumba/Cha Cha Technique

1. Front toe turned out on New Yorks
2. The leader’s Closed Hip Twist in Cha Cha ends with a Cuban Break Chasse to Fan Position, not a side chasse.

Samba

1. End the Criss Cross Voltas with feet apart, like a Bota Fogo ending, except for the last Criss Cross Volta which is followed by Whisks.
2. Dance all figures with acute awareness of spacing, tone in the frame and beautiful structure. Practice Voltas in Open Position, alternating between leftward and rightward traveling voltas. Internalize the bounce action.

Jive

1. Add Stop and Go and Hip Bump to almost complete the bronze routine.
2. Work the body action with minimal vertical bounce action.
3. Interaction is the key: Start close enough to your partner that the gap can widen on the first Back Rock.
4. Use the eyes to see your partner at all the obvious moments in the choreography. The purpose of the body action is to communicate with your partner. This communication requires appropriate eye contact to make sense.

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GUBDT Class 2
September 17, 2014

Advanced Jive

1. Mooch
2. Two Variations on the Back Rock: Forward or Backward Flick-Ball-changes
3. West Coast Swing style points instead of Flick-Steps: Turn your back to your partner on the first point and turn to face partner on second point.
4. Back Rock and Two Twist Flick-Ball-Changes
5. Four Jive Walks
6. Change of Places with Extra Spin

 

Technique

1. Dodgeball use of the body is a good image for isolating sections of the body for contouring/sculpting the body on every step of every dance. Or think of kindergartners running by and contouring the hips and base to evade them.
2. Jive Walk twist actions are from the armpits downward. Include the pecs and lats, but not the shoulders. Self-opposition is key to twist actions and to maximizing the connection to partner.

 

Rumba: Spiral Walk Exercise

Rise to the toes with closed, straight legs to spiral on counts 4.1 during the basic forward walk exercise. Remember the ankles and legs of the woman in the video we watched in class and shared on Facebook.

 

Advanced Waltz: Groups 1-3 of Silver routine

1. Be able to say the feet positions of the Weave from PP using side steps where appropriate, then upgrade the description of the feet positions eliminate the side steps. Forward and backward steps are more powerful and decisive.
2. The back of the follower’s head is to the right in closed position and to the left in PP. This awareness of the back of the head increases space and connection with partner. Practice all promenade figures without turning the head to PP. This stability of position is increased if both partners take their heads leftward, then backward, away from the partner. Spiraling up into position at the beginning of the dance and maintaining the spiral creates the correct angle and connection.
3. To transition to promenade position: 1) elongate the neck and spine, 2) turn the head in the opposite direction (face to left), 3) then turn the face to the right, taking the arcing path, up and over.

 

Beginner Waltz

1. Be able to face or back all eight room alignments.
2. Quarter Turns (Four Bars): Begin facing Diagonal Wall. Turn right on bar two and left on bar four.
3. Use the Box Step, turning ¼ to the left, at corners.

Quickstep

Rehearse this three figure amalgamation for fluency:

1. Quarter Turn to R SQQS
2. Progressive Chasse SQQS
3. Forward Lock SQQS

Rumba/Cha Cha                                  # of Bars

1. Basic Movement      2
2. Three New Yorks      3
3. Under Arm Turn      1
4. Three Hand to Hands      3
5. Solo Spot Turn      1

Jive

1. Basic Movement
2. Under Arm Turn to R
3. Under Arm Turn to L
4. Basic Movement to return to closed position

Intermediate Rumba

1. Use the six connections throughout all Latin dances.
2. Style has two definitions for our purposes:
3. Style is whatever you repeat: a dress style, an emphasis in your dancing, etc.
4. Style is an approach to your dancing. Present yourself and your partner and do something special with every figure you dance. Stand with great posture, move stylishly, stroke the floor with every foot movement, hold your partner’s hand with style, etc.

Samba

1. Four Whisks, ending in PP 1a2 1a2 1a2 1a2
2. Walk in PP 1a2
3. Side Samba Walk, ending with leader ahead                    1a2
4. Criss Cross Voltas 1a2a3a4 1a2a3a4
   Crossed legs are connected down to the calves.
5. Criss Cross Bota Fogos 1a2 1a2 1a2 1a2
   End each BF in second position, toes turned out.
6. Criss Cross Voltas 1a2a3a4 1a2a3a4

Restart with Whisks.

Jive: Bronze routine through Walks and Under Arm turns.

Waltz/Foxtrot: Review amalgamations from class one.

Quickstep

1. Underturned Natural Spin Turn      SQQ SSS
2. Progressive Chasse to DC                  SQQS S
3. Chasse Reverse Turn                          SQQ
4. Progressive Chasse to DW                 SQQS
5. Forward Lock                                       SQQS

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Class 1
September 10, 2014

Advanced Latin

Every class should begin with thirty minutes of warm up and stretching. We will not, so arrive early and do what you can on your own. It’s important.
Every practice and lesson: Stay up on toes for one minute as an exercise. Walking around the room on the toes is also a good regular exercise.
New Rumba Tempo: 22 Measures/Min (Old Tempo: 24 MPM)
Foot speed should not change as tempo slows. Move foot as fast as possible to leave as much time as possible for body isolated action after each foot placement.
Every foot position must be taken clearly and be well defined. No muddled foot positions.
Toe Turned Out
1. Forward Walk Turning Exercise
2. Hand to Hands
3. Step one of Solo Spot Turns
Class members were asked to separate into two groups (strong or weak) based on self-assessment of several areas:
1. Musicality
2. Foot speed
3. Use of free arm
4. Introvert or extrovert
5. Showmanship
6. Ease of learning/remembering choreography
7. Floorcraft
8. Body action/ rhythmicality
9. Posture

Advanced Waltz:
Groups 1 and 2 of Silver routine
Know the eight room alignments
The dance position is not to be held (taxidermy dancing), but rather to be recharged every weight change. It is active, not static.
The leader typically drops his right elbow in two situations:
1. When swaying to his right (1-3 Natural Turn)
2. Promenade Position, because of turning his body to the left, away from his partner and his own right arm.

Beginner

Waltz
Begin with Man’s left foot (Lady’s right foot)
Four Closed Changes Forward and Backward, then two each way, then one
Quickstep
1. Quarter Turn to R SQQS
2. Progressive Chasse SQQS
Leaders: Begin by stepping between partner’s feet with right foot (Lady starts with her left foot). Every Quarter Turn to R after the first one begins by stepping outside her feet.
Rumba
Basic Movement 234 (1); 234 (1)
The leg you are standing on is always straight in the Rumba.
Cha Cha
Basic Movement 234&1 234&1
Jive
Basic Movement 123 123 12

Intermediate Waltz

Basic Amalgamation
1. Natural Turn
2. RF Closed Change
3. Reverse Turn
4. LF Closed Change

Amalgamation #2
1. Underturned Natural Spin Turn
2. 4-6 Reverse Turn
3. Reverse Turn
4. Whisk
5. Chasse from PP

Waltz Technique
1. Rise and fall dramatically and automatically
2. Keep your head and top on your side of the vehicle. Do not crossover or lean in your partner.

Foxtrot
Basic Amalgamation
1. Feather Step SQQ
2. Reverse Turn SQQ SQQ
3. Three Step SQQ
4. Natural Turn SQQ SSS

Amalgamation #2
1. Feather Step SQQ
2. Reverse Turn SQQ SQQ
3. Three Step SQQ
4. 1-3 Natural Turn SQQ
5. Closed Impetus and Feather Finish SQQ SQQ
Follow with a Three Step on the next side of the room.

Rumba Amalgamation
1. Three New Yorks
2. Alemana
3. Closed Hip Twist
4. Hockey Stick
5. 1-3 Open Basic
6. Progressive Walk
Rumba Technique: Be able to demonstrate the six connections. Too much tone is better than too little at this stage. All partner dancing is oppositional. The leader looks weak if the follower turns herself. Give him something to do.

Samba: Basic Movement and Whisks (Count “1a2” throughout)
Keep pressure in the balls of both feet at all times.