DANce StepsNotes from Dan

Download Dan Calloway’s Class Notes – GUBDT-  20131204

Advanced

Standard Technique

1. The most successful competitors are clean and clear with their technique, positions and timing.
2. As the foot moves back, the supporting knee continues to flex forward as long as possible. Do not rush the weight change to the back foot. Do not “short sheet” your partner by changing weight too soon and limiting the size of step they can take.

Samba Runs in PP and CPP

1. Three possible timings: QQS, SQQ or 123
2. First step of each bar is intimate in spacing and intent.
3. Second step is sideward to load up for the action of the third step.
4. Third step is a Cruzados Walk: End with the back hip up and with a strong hip twist.
5. Dance with a jacket tied around the waist to have a skirt to move.
6. Use a NY arm position on the third step.

Beginner: Self-sufficiency in all routines in all dances!

Waltz

1. Remember to walk and dance as if your back is to a wall.
2. The follower’s depth is not determined by the leader’s height. Dance the level that is most productive, athletic and comfortable for you.
3. Dance “tight:” Stay responsive to each other.
4. Followers: Release the R toe from the floor on step two of the Whisk.
5. Feet both feet on the floor at all times. Stroke the floor in all dances, especially on brush actions.

Review Q and T.

Foxtrot

Review Basic Amalgamation (for long side of room).

Short Side:

1. Feather Step
2. Three Step
3. Natural Turn, underturned at corner

Rumba/Cha Cha

1. Sharp foot actions and both feet maintaining contact with the floor.
2. Listen to the music and interpret it. The lyrics and attitude of the vocalist are subtly sexually suggestive.
3. If the leader is not appearing to cause the followers movements he looks weak. Her self-sufficiency should enable her to be confident and wait for him to initiate movements and to turn her.

Samba: Keep the rhythm in the knees.

Jive: Mooch

Intermediate

Samba

1. Practice without hold and with variations on the hold for greater awareness of each other.
2. Isolate the neck in turns, like Spot Voltas.
3. Be freakishly beautiful in carriage and leg and foot lines, like Yulia.
4. Keep the body action rhythmic in Bota Fogos: Pelvic action on step 1, hip rotation on step two and a hip up on step three.
5. Pay attention to the subtext on all figures. Ex: Corta Jaca is intimate and  appropriately invasive between the leader and follower with the legs.

Paso Doble

Begin with leader facing Wall. Keep pelvis tucked forward and chest lifted.

1. Chasse to R: 4 counts down in PP shape, 4 counts up with CPP shape
2. Drag
3. Sur Place, turning ¼ to L to face LOD
4. Separation (8 counts)
5. Syncopated Separation (1-8, a1a2, 3&4, 5-8, 12&34)

Restart with Drag.

Viennese Waltz

Begin with Leader facing DC, halfway down Long Side.

1. Natural Turn around end of room (7 bars)
2. Back Change Step, turning ¼ to R to end backing DW
3. Reverse Turn, starting with steps 4-6, down long side of room (7 bars)
4. Forward Change Step, turning ¼ to L to end facing DC

Restart.

Viennese Waltz Technique

1. The Natural Turn has more shape then the Reverse Turn, so use it first.
2. The second of step of forward turns is forward, not sideward. Scissor the leg forward like a Feather Step.

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