DANce StepsNotes from Dan

BAM 10
November 17, 2014

Contact Dan at coach@danielcalloway.com for a private lesson or with questions over our winter break.

Winter Break References

1. danielcalloway.com Resources Section
2. DcDanceNet.com
3. On YouTube: Search “NDCA” (National Dance Council of America), plus any dance you’re interested in, to see a video of all the figures in that dance.
   NDCA Syllabus Videos
4. istd.org (to order The Ballroom Technique)
5. Go to every studio you can to see what the options are to develop your dancing.
6. Capital Ballroom (Bethesda) offers bronze international style classes.

Beginner Standard:

Review Tango Group 3

1. Followers: Keep the head outside the frame, looking inward over your wristwatch. Do not let the head move inside the frame, looking outward.
2. To add ferocity to Tango, emphasize the first step of each bar: 1&2&, 1&2&, etc
3. Keep the compression in the legs, especially after the Link and after closing the feet at the end of each group. Prepare to jump, just move laterally, not vertically from the compressed position.

Competition Tips

1. End each dance with a simple under arm turn presentation.
2. Start strong every dance. You are judged on every little thing!
3. Charisma is worth at least twenty points out of the possible one hundred each couple gets in each dance.
4. Energize your spine and your arm lines at all times!

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.

Viennese Waltz

Begin at beginning of long side.

1. Reverse Turn (four bars)

Leader: Start with left foot; cross in front on step 3

Follower: Start with right foot: cross in front on step 6

2. Left Foot Change Step (Follower’s right foot)
3. Natural Turn (four bars) around end of room (two corners)
4. Right Foot Change Step (Follower’s left foot)

Beginner Latin: Review Rumba, Cha Cha and Jive

Silver Foxtrot

1. Practice with a one hand connection (Leader’s LH) to wean him from the overuse of his right hand and to increase the use of the legs and feet to keep the partnership connected in the bodies.
2. Change from one position to another without detaching from your partner. Either slide or roll.

Group 1

1. Feather Step SQQ
2. Open Telemark, Natural Turn and Outside Swivel SQQ SQQ S
3. Feather Ending SQQ

Group 2 (at a corner):

1. Open Tele, Nat Turn, Outside Swivel SQQ SQQ S
2. Natural Turn and Outside Swivel (across corner) SQQ S
3. Feather Ending, DC of new LOD SQQ

Group 3

1. Outside Swivel S
2. Weave from PP S QQQQ QQ

Silver Latin: Connections

1. Begin Rumba and Cha Cha with a billiard ball action on the prep step: He moves to her, then she bounces away from him.
2. The follower has no direction changes or turns on her own. Practice continuing in one direction whenever his lead to change direction is too late or weak.
3. Keep the connected hands out of the cube-shaped zone between the two torsos.
4. Practice New Yorks with great speed changes. The only disallowed speed is medium speed.

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BAM 9
November 10, 2014

Beginner Waltz/Quickstep: Review

Tango: Group 3

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

Rumba/Cha Cha: Review

Jive: First Half of Bronze Routine

Begin in Open Position

1. Whip Throwaway 1,2 3a4 5,6 7a8
2. Whip 1,2 3a4 5,6 7a8
3. Mooch
4. Walks 1,2 3a4 3a4 SS QQQQ
5. Change of Places R to L 1,2 3a4 3a4
6. Change of Places L to R 1,2 3a4 3a4

Silver Quickstep

Approaching a corner before a short side:

1. Natural Turn, Back Lock and Running Finish SQQ SQQS QQS

Next side of room:

2. Forward Lock SQQS
3. Running Right Turn SQQ S SSS QQS

Next side of room:

4. Forward Lock SQQS

Ohio Star Ball Winning Standard Techniques

1. Maintain the vertical stretch between the shoulders and the ears
2. Keep the eyes engaged at all times
3. Leaders: Practice with L thumb on your nose to find the ideal rotation of the head to the left, verticality of the head and eye focus.
4. Know your routines. Confidence is paramount.
5. Sway on three step figures, never four step figures, in Quickstep, especially this evening’s routine.
6. Conspicuously enjoy every aspect of your dancing: music, partner, movement, costume, foot actions, etc.
7. To prepare for our last class and Ohio, be able to dance alone the first figure of every dance. Practice your starts! Then, do just the second figure of each dance without the first figure. That’s harder! If you have time, do it again with the third figure, and so on.

Samba: Review routine from last week and add:

1. Corta Jaca, turning to R to end with leader backing DW 1 2&3&4&; 1 2&3&4&
2. Criss Cross Volta 1a2a3a4a5a6
3. Whisks 1a2 1a2

Jive

1. Do not under dance the knee actions. Look energetic at all times.
2. Remember you are judged critically 1) Before you touch your partner 2) When you take your first dance position of a dance 3) The first measure of each dance

 

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BAM 8
Nov 3

Beginner Waltz

1. Never get caught with two heels on the floor. Every measure peaks on count three, then one heel lowers on 3 and, as the other foot moves to take the next step.
2. The difference between craft and art: in craft you know what you are going to create before you start. Know your craft! Later, think about artistry, unless your definition of art is creating excellence.

Quickstep

1. NST SQQ SSS
2. Progressive Chasse SQQS, S
3. Chasse Reverse Turn SQQ
4. Progressive Chasse SQQS
5. Forward Lock             SQQS

Corner #1:

6. 1-3 Natural Turn SQQ
7. Tipple Chasse to R SQQS QQS
8. Quarter Turn to R SQQS
9. Progressive Chasse SQQS

Corner #2:

1. NST SQQ SSS
2. Progressive Chasse SQQS

Start over.

Tango: Review Groups 1 and 2, keeping the head weight away from and opposing partner’s head.

Rumba: Review last week’s amalgamation, but add Backward Walk (two bars) after Hockey Stick and 1-3 Basic. Remember: No matter how slow the music, snap each foot into place as quickly as possible in order to maximize the time between steps to fill in with action as you develop as a dancer in the future.

Cha Cha/Jive: Review

Silver Waltz

1. The Three Natural Spin Turns: Underturned (360 degrees), Normal (end backing DC) and Overturned (end backing LOD)
2. Turning Lock (1&23)

Tango: Line figures in Group 3

1. Challenge Line
2. Right Lunge
3. Spanish Drag

Standard Technique

1. When the lady’s head turns to PP, think of the back of the head turning leftward, away from man. Do not think of the face turning to the right toward him. Anna Mikhed pulls on the lady’s ponytail to remind the lady to keep her head spacing from his head.
2. Leaders: When your face turns toward your partner, look at her from afar.
3. Every competition is a contest to see who opens up the most space between their ears and their shoulders.

Samba

1. Walk in PP 1a2
2. Side Walk 1a2
3. Two Criss Cross Bota Fogos 1a2 1a2
4. Maypole 1a2a3a4a5a6
5. Lady’s Volta to L 1a2
6. Rolling Off the Arm (2x) 1a2 1a2; 1a2 1a2
7. Reverse Turn 1a2 1a2 1a2
8. 3 Back Rocks SQQ SQQ SQQ
9. Plait (2x) SSQQS SSQQS
10. Lady’s Volta to R 1a2

Samba Technique

1. Stab every foot into place. Be definite.
2. Figures counted with slows and quicks do not bounce. Bounce figures always have an “a” in their timing. Not all bounce figures bounce to the same degree and bounce is always isolated from the head, neck and shoulders. Absorb all of the lower body bounce action in the body action

Jive

Make your jive about the standing leg action. Flicking actions can only be fast if properly coordinated with the bounce action in the supporting leg. Bounce rhythmically with equal emphasis on the upper and lower parts of the range of bounce action.

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BAM 7
Oct 27, 2014

Beginner Waltz: Review Natural Spin Turn to 4-6 Reverse Turn

Quickstep: Review Tipple Chasse to R

Tango: Review Groups 1 and 2

Competition Priorities

1. Frame/Posture
2. Movement
3. Timing
4. Charisma

Rumba/Cha Cha

1. Three New Yorks
2. Alemana
3. Closed Hip Twist
4. Hockey Stick
5. Three Cha Cha Chas (Cha Cha only)
6. Alemana
7. Three Hand to Hands
8. Solo Spot Turn

Jive: Review Mooch and Under Arm Turns

Silver Waltz: Lower thoroughly and use it to extend the stride and create big movements.

Foxtrot: Use pendulum sway throughout

Quickstep: Show the distinction between the slows and quicks

Tango: Oppose the rotation of the head with rotation of the back/lat in the opposite direction, especially in PP

Comp Priority: Use Tango attitude in all dances

Cha Cha/Rumba/Samba/Jive

1. No sleepwalking. Instead, move the feet sharply. Stab them into place. It helps to vocalize the faster ticking sounds of the music.
2. Move the femurs to move the hips.
3. Use Paso Doble attitude in all dances

 

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BAM 6
October 20, 2014

Guest Instructor: Dimitar Petrov

1.       Newcomer Standard

Waltz – Underturned natural Spin Turn and 4-6 Reverse Turn

2.       Newcomer Latin

Rumba – Basic, hip twist action, Fan

3.       Silver Standard

Waltz – Taking time to set up connection and press lightly towards eachother while still keeping his left arm up and back.  Taking time and being fully on the foot in prepsteps, pushing off the floor to create swing, getting moving leg out of partner’s way, zig zag position of body, counterbalancing, especially between her head and her ribs internally and external connection of her head moving away from his left hand.

4.       Silver Latin

Cha Cha – Working on straight legs, pushing off the floor.  Brainstorming ideas to make your styling stand out while still staying in syllabus.  Latin hand hold, emphasis on men’s 2 fingers under her hand and thumb lightly on top.  Men’s body stance to stay athletically engaged with her (elbows not too close to ribs).

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BAM 5
October 13, 2014

Nanticoke Room (Final Bronze Class)

Beginner Tango:

Three variations on our new Group 1 (Progressive Link and Closed Promenade)

1. Two Walks before the Progressive Link (SS)
2. Two Walks curving around a corner, before the Link
3. Group 1 without the Two Walks

Note: Know where the heel leads are in every Tango group you ever learn.

Waltz: Figure four of the Basic Amalgamation (RF Closed Change) is now replaced by:

4. Whisk
5. Chasse from Promenade Position (Timing: 12&3)

The Whisk and Chasse is used to turn a corner when the leader turns the Whisk 1/4 to the left to face DW of the new LOD

The Waltz now begins with a prep step on count three.

Quickstep – To turn corners:

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

Rumba/Cha Cha

Begin facing DW.

1. Fan (Basic Step ending with follower stepping back into Fan Position) 234, 234
2. Hockey Stick 234 234

In Cha Cha: Follow the Hockey Stick with Three Cha Cha Cha’s Backward and Forward.

Bronze Samba

1. Bronze routine up to Solo Spot Voltas
2. Reverse Turns

Samba Technique:

1. Samba Bounce Action: The downbeats are for lowering action and the “and” counts for rising action. Elongate these actions as much as possible to fulfill the music.
2. This Samba Bounce Action involves three joints primarily: Ankles, knees and hip flexors
3. Jazz Ribcage Isolations
4. Side to Side (typewriter action)
5. Forward and Backward: The shoulders and hips roll forward and backward to maximize the distance covered by the ribcage.
6. Clockwise and Counter Clockwise
7. Practice Rumba Cucarachas with the ribcage leading each step. Delay every hip action, like Merengue but on a straight leg.
8. Dance Traveling Voltas with a ribcage lead on every Volta Cross to create the next side step.
9. Use Samba music which emphasizes the upbeats. Overemphasizing the downbeats creates heavy, unrhythmic Samba.

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BAM 4
October 6, 2014

Beginner Class

Thank you, Myra Coffield, for teaching the Newcomer Standard class and, Anny Sadler, for teaching the Newcomer Latin class this evening in my absence! I can’t wait to hear the reports from the students next week on what they learned and about their results in their first competition, Sunday’s Colonial Classic!

(Myra)

Tango:

We learned a new group with two new figures.

1. Progressive Link QQ
2. Closed Promenade SQQS

Leader turns the lady to promenade with his top. He does not wrench the lady with his shoulders. The leader closes the lady to closed position turning his hips to the right. The lady turns to promenade with her base and her head. The lady pigeon toes her feet and turns her head on count three in the Closed Promenade.

Reviewed Group 2:

1. Two Curving Walks SS
2. Reverse Turn, Lady Outside   QQS QQS

Waltz:

Reviewed Basic Amalgamation & practiced box step strategy for corners.

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

Quickstep:

Practiced our three figures and discussed temporary strategy for getting around corners. (bend-y method) Remember, its temporary!

1. Quarter Turn to Right
2. Progressive Chasse
3. Forward Lock

(Anny)

Latin portion covered Rumba, Cha Cha, & Jive
Rumba & Cha Cha Routines :

1. Basic
2. Three NY
3. Alemana
4. Three Hand to Hands
5. Solo Spot Turn

Jive :

1. Basic (Triple, Triple, Rockstep)
2. Mooch (flick, step, flick, step, rock step, triple to repeat on other side again flick, step, flick, step, rock step)
3. Walks  (Version one was triple, triple, 2 slow poses with leg, 4 quick twisting walks.   Version two added an optional two triples and 4 quick twisting walks back.)
4. Basic.

Men practiced the Jive Walks for longer with Charles while the ladies practiced all 4 figures of this routine with Anny.

Bronze

Bronze Quickstep: Review Natural Turn, Back Lock and Running Finish

Standard Technique

1. Tone up the position to make sure there is not too much play in the position as you move.
2. Ground your base, but stretch the top upward at all times. Never straighten a leg in standard.
3. Keep the chin up, not dropped.
4. Focus the eyes at all times. No glazed look or thinking face.
5. Do you dance better with or without a partner? Practice both ways and go for it!
6. Great musicality is like catnip to a judge. Especially, show the slows in Quickstep.
7. The legs and body look heavy when they are underused. Dance as if you are over-caffeinated, especially with your legs and feet.

Tango: Group 6

1. Progressive Link QQ                  1,2
2. Natural Twist Turn SQQ SQQ       (3)* 4, 5,6 7 (8) 1,2
3. Closed Promenade, DC SQQS              (3) 4, 5,6 7 (8)
4. Reverse Turn, Lady in Line QQS QQS       1,2 3 (4) 5,6 7 (8)

*No step is to be taken on the counts in parentheses.

Tango Technique

1. Remember that counting in “S’s” and “Q’s” is necessary at first, but makes you and unmusical dancer. Be able to count all of your Tango in “8”s.”
2. Do not be the weaker link in the couple when it is your turn to take a forward step. Drive your partner ahead of you unmercifully!
3. Never miss an opportunity to use a heel lead in the Tango.

Jive: Full Bronze Routine, except the American Spin. This evening’s new figures: Stop and Go (1,2 3a4 5,6 7a8); Hip Bump (1,2 3a4 3a4)

Jive Technique

1. Keep the bounce feeling in the knees, with downward accents on the even beats (2 and 4).
2. The hips swing laterally at the end of each chasse. The hips connect on the “and” count after a “3a4” chasse in the Hip Bump.
3. Play the role in Jive. Make eye contact with your partner. Have fun with everything you do!
4. Tone up the connection to communicate your body rhythm to your partner constantly through the connected hands and arms.

Cha Cha Technique

1. Feel all the qualities the music communicates: sassy, sexy, cheeky, romantic, tic, rhythmic, sultry, etc.
2. Every step must be taken clearly, deliberately and with attitude. Stab every foot into its new foot position.
3. Back Lock footwork is ball, ball-flat, ball-flat
4. Rather than dancing the Three Cha Cha Chas backward and forward, just add two forward locks to the end of the Hockey Stick.
5. Use only one bar of Natural Top. Again, stab each foot into its new position.

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Class 3 Fall 2014
Sept 29

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.

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

Quickstep: Review all three figures.

Tango

Begin facing DW (Follower backing DW)

1. Two Walks, curving ¼ to face DC SS
2. Reverse Turn, Lady Outside QQS QQS

Tango Exercise: Alternate two Closed Boxes with two Open Boxes, turning to the left and counting “QQS” throughout.

Remember: Confidence is the sexiest quality. Express it even if you don’t feel it. Stand and move confidently.

Rumba: Every step is taken onto a straight leg, but the moving knee must bend as it passes under the body on its way to the next step.

Cha Cha: Use the same straight leg position on counts 2 and 3, but the knees do not need to straighten fully on the quicker steps of the chasse (counts “4&”). Every chasse ends on a straight leg.

Jive: The Mooch, followed by the Under Arm Turns from last week

Bronze Waltz Technique

1. Begin every practice and class by spending sixty seconds balancing high on your toes, then walking forward and backward high on the toes.
2. Also every practice and class, do the two isolation exercises: Turn the body without turning the head, then swivel the feet and head without turning the shoulders.
3. Keep the weight forward and knees forward under your partner to create the body contact. Practice with the palms flat to your partner’s palms to keep the weight forward to each other.
4. When the head is to the left, the left latissimus (upper back) is forward in opposition to the head.

When the head is to the right (follower’s promenade position), the right lat is forward in opposition.

Quickstep: Natural Turn, Back Lock and Running Finish (at corners)          SQQ SQQS QQS

Tango: Bronze Groups 1 and 2          Be able to count “SS QQS QQS” for each group, but remember that using “S’s” and “Q’s” is for simplicity only and creates unmusical dancers. Instead, be able to count in “8’s.”

Tango Dance Position

1. Because the bodies are more offset, the dance position in Tango is the biggest of all standard dances.
2. Keep the wrists turned out to use the joints and not the muscles to lock the wrists and elbows into position.

Samba: Bronze Routine up to the Corta Jaca

1. “What was that?” is the worst question a judge can ask of your dancing. Be clear and definite in all that you do.
2. All of our Samba figures bounce, but not equally, and never to include the head. Isolate the body actions from the head and neck.
3. Degrees of bounce
4. Voltas 70%
5. Bota Fogos 60%
6. Samba Walks 50%

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Class 2
September 22

Beginner

There are eight room alignments. Be able to face or back each of the eight.

Waltz

Begin with leader facing diagonal wall            # of Bars

1. Quarter Turns      4
2. Box Step (at corners only)      2

Quickstep

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

Rumba/Cha Cha 

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

Jive

1. Basic
2. Under Arm Turn to R
3. Under Arm Turn to L
4. Basic

All Jive figures are counted 3a4 3a4 1,2, so far.

Bronze

Waltz: Review last week’s Basic Amalgamation, then add Amal. #2:

1. NST
2. 4-6 Reverse Turn
3. Progressive Chasse to R
4. Back Lock
5. Back Whisk, turning ¼ to R (at corner)
6. Chasse from PP

Waltz Technique

1. When a back step is followed by a forward step, the back step is small.

Examples: Step three of a Whisk and step four of the leader’s Natural Spin Turn

2. Peak well on count three of each figure.

Foxtrot/Quickstep: Review Basic Amalgamation in each dance

Rumba

Take every step sharply and boldly. Do not just mumble through the steps.

Jive

1. Whip Throwaway
2. Whip
3. Mooch

Jive Technique

1. Every step gets a body action. That is the point of every step. Be able to dance the whole routine without taking steps to show just the body action associated with each step.
2. All of our dances are oppositional. “Compression” and “tension” are the two types of connection. Less is best eventually. Err on the strong side, for now.
3. Confidence is key in all dance performance. Do your homework (practice) and the confidence will be there when you need it.

 

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September 15
Intro Class

Note to class: Like learning a foreign language, learning to dance will require frequent practice. Try for at least three practices per week. Thoroughly review everything we have done in class in those practices.

Waltz amalgamation: Four Closed Changes forward and backward, then two Closed Changes forward and backward, then one Closed Change forward and backward.

Technique

1. Remember the three rules of Ballroom: Position, position, position.
2. Rise and Fall: Use a heel step when going forward on count one. Counts 2 and 3 are on the toes.

Quickstep
Begin on a diagonal.

1. Quarter Turn to the Right       SQQS
2. Progressive Chasse                 SQQS

Rumba Basic: (1) 234; (1) 234

Cha Cha Basic: (1) 234&1 234&1

Jive Basic: 123 123 12

 

Bronze Class
Basic Amalgamation in Four Dances:

Waltz

1. Natural Spin Turn (NST)
2. 4-6 Reverse Turn
3. Reverse Turn
4. Whisk
5. Chasse from Promenade Position

Quickstep

1. NST                                            SQQ SSS
2. Progressive Chasse                 SQQSS
3. Chasse Reverse Turn              SQQ
4. Progressive Chasse                 SQQS
5. Forward Lock                          SQQS

Foxtrot

1. Feather Step SQQ
2. Reverse Turn SQQ SQQ
3. Three Step SQQ
4. 1-3 Natural Turn SQQ
5. Closed Impetus SQQ
6. Feather Finish SQQ

Re-start with Reverse Turn.

Rumba

Begin in Open Position.

1. Alemana
2. Closed Hip Twist
3. Hockey Stick
4. 1-3 Open Basic
5. Backward Walk
6. Natural Top
7. Opening Out to R and L
8. Closed Hip Twist

Re-start with Hockey Stick.

Standard Technique

1. Three Types of Swing: Rotary, Lateral and Porch Swing
2. Scoop low and peak high on every swing. Balance high on balls of feet for one minute before every lesson and practice. Walk on the balls of the feet to warm up.
3. Followers: Do not be afraid of overpowering your partner. Be active and independent minded. If he is rushing the music, complain. It is not good for the team/couple for the follower to be constantly acting as anchor to keep him slow enough.
4. The leader’s arms in frame are back, square and wide. The follower’s arms are forward and round.

 

Rumba Technique

1. Use both feet and both legs to push the floor constantly.
2. Use balletic arches and ankles to over articulate every step.
3. Use the greatest possible foot speed on every step to maximize the length of time on each foot before the next step.