Tuesday, May 17, 2011

Disappointment of the Arts

As someone who has spent the greatest part of my life loving and intensely involved in the arts, I can always remember having a critical voice at the back of my head whilst watching things. You know the one: it notices that someone didn't get through their quick change fast enough so their hair is slightly unpinned, or that the scenery didn't clear the stage the way it should have, or that someone just messed up the choreography.... the one that, when silent, proves the quality of what you are watching.

I had the opportunity to go see one of the west end's newest shows last night. I was actually really looking forward to what I expected to be a strong show filled with energy and excitement - it was a brand new adaptation and still in previews, so those two qualities should have been a given. Instead, it was working too hard and failing to hit the right marks, the energy was lacking, and there was a complete lack of vocal strength from most of the leads.

The show itself is ok, but I am not convinced the changes made between London and Broadway have been for the better. What was most painful to see, however, was the lack of enthusiasm and energy that seems to be spreading through a lot of the "mainstream" productions these days. Leads are cast not because they are perfect for the roles in casting or ability, but because they are "names."

As someone who trained for this kind of work, it is a bit of a slap in the face when some TV presenter or reality TV star is handed a role of a lifetime and then can't actually do it justice. Shows should never look tired or like a lot of work - which is not to say they aren't hard work - especially not after a week and a half! Performing is as much a job as anything else, and of course there will be days it goes better than others; all jobs are like that. But the trend to bring "names" in to sell a show, regardless of their suitability, is one that ultimately will only serve to disappoint and ostracise the people who have a vested interest in the business as a whole and will undermine the trained performers and the industry.

The ensemble in the show last night were talented and working very hard with the little they had been given, but it wasn't enough to keep the energy up when two of the leads had no discernible chemistry at all and a few were struggling with being heard. My inner critic was unfortunately loudly commentating throughout. And as I left, I couldn't help but feel let down by an industry that has been so much a part of my life. I dont think it was just that show; the convention to cast via reality TV show or simply through notoriety is one that is prevalent today. And it saddens me to know that it is likely going to get a lot worse before it has a possibility to get better. But I have my fingers crossed.... and my expectations lowered.

Friday, April 08, 2011

Old Dance Today Cover Shot

I noticed a little while ago that the link to the Dance Today cover which features Hanna Haarala and Andrew Cuerden and which I happen to have shot was no longer working! To make up for that, I recently took some shots of one of the copies and attach the photos here for you.





All shots are copyright Sheard Photography and cannot be used without express written consent.

Thursday, April 07, 2011

Reduce the Validity of Your Argument by Refusing Debate!

After writing my last post on the benefits that I have seen from initiating heels into my dance repertoire, I was drawn to a post that a friend linked to from someone with a very contrasting view. As someone who was obviously interested in the subject I wanted to engage in some debate or at least discussion about the issues we both recently had written about. I wrote a considered response and was shocked to find that a day later, my comment was not approved. On top of that, her reasoning for refusing to display it was as follows: "Remember, please: this is my blog. I’ll just delete your comment if you give me the shits. Hellz, even if you disagree with me! I encourage you to write your own blog posts or FB notes or whatevs if you’re cranky with that."

Now she has every right to moderate her blog as she sees fit. And as I feel that my comments deserve a forum as much as hers do, I am being "cranky" with that and writing here. But I have to say that when someone who sees themselves outside the societal norms petitions to stretch those norms or conventions so that they can be heard, taken seriously, and potentially change aspects of the society they see then turns around and so blatantly refuses to even discuss anything.... it doesnt lend me to to taking them seriously in the future.

The post can be found here and my deleted response to it is below:


I posted most of this as a comment on someone’s link on facebook, but I think it is only right that I post it here as well.

I don’t feel Sarah’s post was about the gender of the person in the footwear. If you look closer at Sarah and Dax’s site, there is also a post explaining why Dax feels that guys should wear heels too! So they were in no way claiming this was purely a female thing.

The point of Sarah’s article was to emphasise the benefits that she has had from dancing in heels and the issues she was able to flag because of it. Nor does it assume that “heels” means 4” stilettos… all she was saying is that by wearing a heel you become more aware of your posture, balance, connection with the floor, and the connection with your partner – none of which are a bad thing! Personally, I prefer to dance in a bit of a heel. I don’t do it because of what it looks like, I do it because it is the way I am most comfortable and where I feel the most secure. I have trained in heels and all sorts of dance styles for a long time and don’t think you should be limited to just one type of footwear – for dance or societal reasons! Yes, core strength should be encouraged and developed. But starting to “learn to dance in heels by dancing in heels” does not mean jumping straight in at high high heels. Like with any strengthening or fitness based training, you don't jump in the deep end before you can swim – that Would be dangerous.

I also have a bit of an issue with saying that someone cannot be “badass” in heels. Not only don’t I agree with that statement, but I also vehemently disagree with the statement that “[i]t stops you being totally badass (ie you can’t dance hardcore or do scary aerials or otherwise rock ON).” Besides the fact that “scary aerials” should NOT be done socially, in my opinion, surely dancing hardcore or rocking on depends on each dancer… and personally, I feel I can do those things in heels. If you don’t, that’s fine but don’t say it isn’t possible. I also don’t accept that you are any more badass because you flagrantly do the opposite of whatever you think society expects of you. (And frankly, wearing heels to Lindy is NOT the norm… so if you are trying to go against type then maybe you Should be wearing them.)

As for the claims that wearing heels is akin to societally imposed suffering or as in the comment above, Chinese foot binding… I am sorry, but I just don’t buy it. If you take care of your body (warm it up and cool it down, stretch and massage) then the shoes you are wearing shouldn’t make much of a difference as long as they fit properly and give you the necessary support. You can have just as many foot problems from cheap flat shoes as you can from heels if you don’t look after yourself.

I respect that everyone should be allowed their opinion and have the right to express it in the way that they please….. and the vehemence in this post makes it a very compelling read…. But I think that the core idea jumps to conclusions and the profanity isn’t really necessary. Make your point. If strong enough, it will stand without the swearing.

Tuesday, April 05, 2011

To Heel or Not To Heel - That is the Question

I was reading a blog post recently which was about the effect that your wardrobe has on your dancing as well as on the dance scene as a whole. This was on a blog written by brilliant Lindy dancers Dax Hock and Sarah Breck... so I decided to have a peek around and see what else I could find. The very next article I stumbled upon, was one that addressed the idea of wearing heels when dancing. (Why Women Should Wear Heels) I was really surprised by the vehemence with which some of the people responded to this post and the refusal by some to accept that there could be any benefit to wearing heels whatsoever.

All through my training and in many different shows, I have had to get used to the idea of wearing heels to dance. In fact, when it came time to do my showcase at college, my 3 inch character shoes were deemed too small a heel for my height and foot size and so I was sent on a mission to find 4.5inch heels that I could wear instead. I then not only had to do the show and all rehearsals in these new shoes, but also all my Jazz classes as well. From beginning warm-ups to turns and big jumps, my high heels were there. Though the reason for the boost in heel hight was initially a cosmetic one, I very quickly found certain things out about my dancing which I was then able to address both when wearing heels and not. It made me a stronger dancer and  I became very comfortable in my heels. To this day, I prefer to dance in at least a bit of a heel for most styles.

Dancers in the Ballroom world also have the issue to heel or not to heel. Both guys and girls have the choice between different heel heights and the difference between Ballroom and Latin shoes can be extreme. Everyone has their preference and many people remain at the lower end, especially when learning, in order to maximise stability and control.This is sensible and heels also shouldn't be worn purely to prove that you Can.

In the Lindy scene, heels are far less common and I know a lot of people that flat out hate to dance in them. But I think that Sarah's article has a point. Although postures are very different between Ballroom and Lindy, there is something to be said about being placed in a situation which forces you to evaluate exactly how much of your core you really do activate or how you use your contact with the floor to provide momentum and impetus.

Now, no one is saying that every person needs to dance in extremely high heels. Even though I did manage to get through every aspect of my 4.5inch heel experience, I could still jump far higher and with more control when I wasn't wearing them. (The landings were always a little tentative in them... and rightly so!)

And I do recognise that the long term damage of wearing very high heels has been shown in society in general. However, all too often it is the shoes which get the blame when, ultimately, it is the wearer that could have prevented a large part of the problem in the first place. If you know that you are spending a night dancing, a day walking around, or a long work day in heels and don't stretch out your calves afterwards... then I wouldn't blame the shoes when you are a bit sore the next morning! And on a long term basis, preventative maintenance to your feet and calves (as well as lower back) can do a lot to combat the negative effects of high heels AND flat shoes that simply aren't supportive or well made. (High heels aren't the only culprit of damaged tootsies!) As with all dancing, you need to know how what you are doing is affecting your body and take action to prevent injury or long term damage. Warm-ups and cool downs can help tremendously, but how many of us honestly do them to the extent that we know we should?

So Sarah, I have to say, I am on your side. Even if it feels initially a little uncomfortable or tentative - sometimes downright scary - the benefits of working through that process and getting to know yourself and your dancing better is one that I believe is truly worth it.

Friday, April 01, 2011

The Value of Musicality in Choreography

I had the privilege the other night of attending the Ballet. It has been a really long time since I have gone to see a ballet and I left feeling generally inspired and suitably cultured. The dancers' technique was impeccable and the visual presentation of the piece on the whole was stunning, but I have to admit that I was occasionally slightly disappointed with one thing: the musicality of the the choreography.

Working with the swing performance group that I both organise and am a part of, I have also had a series of conversations lately about the importance of creating pieces that are highly musical and which use the whole song as an arc to present one coherent entity: the combination of music, dance, and performance.

Now, most people will think that what I am saying is a fairly logical thing. Of course the music should be reflected in the choreography, right? I guess, the issue is, to what extent?

We all hear different things in music: different accents, different highlights, and even sometimes different melodic tracks. And most songs have a lot of these things layered within them. When social dancing, strong dancers do their best to anticipate the music and utilise these layers of interest. Breaks, accents, and musical qualities that are used in the social 'choreography' show that the dancers are thinking about more than just which step they can think of to do next. But when doing a piece of set choreography, how many levels are enough?

Obviously, because set choreography is not impulsive it is expected to have a better understanding of the music it is using. But at what point do you have to stop dissecting the music and just allow the dance to happen?

I find myself caught in the middle at  the moment. I was disappointed that the Ballet I viewed didn't use the amazing music as well as it could have. Accents were missed or subverted and sometimes beautiful choreography was being done to music that just didn't seem to fit. And yet, when choreographing myself, I pick out the main highlights I hear and want to emphasise and then can sometimes neglect (purposefully or not) to hear the other lines around those. I don't think that every line can be played to within choreography, and attempting to do so can sometimes lessen the impact of really hitting an accent or musical element. But how much is enough... and where do you draw the line?

Rumba - Rumba Walks

Rumba walks are one of the things which when done well seem effortless but which in reality require a lot of practice and more multi tasking than you may have thought!

The technique is the same regardless of whether you are the leader or the follower and I will build it up step by step as I would if teaching it for the first time.

Because of the slow speed of the Rumba, one of the main things that you need to have to dance it well is control. I would recommend remaining within the rhythm of the Rumba when practising your walks and take two steps on the beat and then one step which holds the movement for two counts. (As you would if dancing..... counts 2, 3, 4-1.)

In a space where you can string quite a few steps together, begin by simply walking across the floor and back. Notice how you will normally walk with your heel hitting the floor first and often a relaxed centre. These are the first things that we are going to change.

The next time you walk, change the way that you hold yourself and lift out of your hips. Feel as though you have a big hook through your collar bone which is pulling you forward and slightly up.

After you get the feel of that, change the way that your feet contact the floor. Instead of stepping forward with a heel and allowing your feet to leave the floor, pretend that you have a large bill (£50 or $50 is usually sufficient) underneath the ball of each foot. The moment you lift your foot off the ground, you lose the money.

As you work with the "money" under your feet, think about the foot that you are bringing forward. Make sure it is extending out in front of you before you transfer your weight - pushing off the back foot, which then collects itself underneath you as you move your body weight forward. Stability will be helped if you turn out the foot you are stepping onto. (That means that you show the inside of the heel to the direction you are moving which points your toe diagonally out.)

Chances are, buy this point, you may have forgotten to think about your core and the fish hook through your collar bone. Whilst maintaining your footwork, try to feel the lift of your upper body out of your waist and hips. You should also attempt to keep your shoulders straight towards the direction you are walking and allow all of the work to be done below.... when done properly, this will be something you really feel in your stomach muscles! (It may help to put your arms out to the sides and then raise your hands 90 degrees to emphasise the necessity of keeping your upper body straight towards your LOD. You will be able to tell a lot easier if you are letting your shoulders move with your legs.)

So now, you have footwork that is pressing down into the floor (to keep your money under your toes) as your upper body lifts up and resists the natural movement that moving your legs causes in your shoulders. There should be a lot of resistance in your body as you walk - as though you are walking through treacle - and every single movement should be intentional and controlled.

Once you feel you have this under control, you can begin to work the hip movement into the walk. As you step forward onto the leg, your hip will move forward, to the side, and then settle slightly back - the way a lot of people naturally stand, with one hip pushed out slightly back. As you step forward onto the next foot, you repeat the process with the other hip. The total movement is a little like a figure 8. I will stress though, that this hip movement comes from the natural body movement and should not be forced. The more comfortable you are with the rest of the walk, the easier the hip movement will be to add.

Monday, March 21, 2011

Tango - Natural Twist Turn

Starting from Promenade Position, this step is a good one for playing around with the dynamics of Tango as the man's rhythm is slightly different to the lady's - but both still work together to complete the step.

Leaders'/Men's Footwork

In Promenade Position, with your weight on your Right foot and your Left foot extended to the side (knees bent, knees, hips, and bellybuttons still to your partner, only your Left shoulder opened slightly to the LOD), take your first step with your Left foot moving along the LOD. Continue moving along LOD as you bring your Right foot forward and across in Promenade Position and CBMP. (You should be really twisted up at this point!) (Slow, Quick)

Untwist to step side onto your Left foot, getting as far around your partner as possible and blocking her forward movement. Your body will likely be backing Diagonal Centre at this point. As you cross your Right foot behind your left (toe only) you should continue the turn and be Backing LOD. (Quick, Slow)


With your weight on your Right foot primarily, untwist until your legs are side by side and then continue the turn on your Right leg but carry your Left with it so that you end up in Promenade Position where you started! Obviously you dont actually have any steps here, but the followers do... so the count in which you should complete this is Quick, Quick. (I know it looks messy... but you try drawing a movement that the foot stays in place but turns!)


Followers'/Ladies' Footwork

Starting in Promenade position, you have your weight on your Left foot with your Right foot lightly resting on the ground to the side whilst your knees, hips, and belly button  are facing your partner, you open your Right shoulder slightly down the line of dance and turn your head to the right. Step off on your Right foot and then take another step down LOD with your Left foot which will put you in CBMP and promenade position at the same time - prepare to twist! On the next step, your partner will take a step which puts his body blocking you but it is important that your step still goes straight forward - which should mean that you step directly between his legs. (Slow, Quick, Quick)

Then it is as if you are walking around him. Keep your upper body turned towards him and use him as the centre of your circle as you take two steps (Left, Right) forward and around him. (Slow, Quick) The third step (Left foot) is to the side to end up back where you started, in Promenade position - be sure to transfer your weight AND change your body direction into PP on this last step... and all on a Quick count!


Notes for both the Leader and the Follower:

- Guys, your turn and bringing the Left leg around without weight, whilst keeping your balance and centre strength.... will take practice. Try to get this movement as smooth as possible. Ladies, you are still moving while the guys turn... try not to walk too far away from them or you may pull them off balance.

Wednesday, March 16, 2011

Tango - Progressive Side Step Reverse Turn

As the Progressive Side Step Reverse Turn starts facing Diagonal Centre for the man, I have added two walks on to the beginning of the figure to allow you to curve yourself into the appropriate starting angle. These are not technically part of this step, however, we haven't really looked at any steps which would naturally have you end DC.

Remember that in Tango, all steps should be done with flexed knees and that there is a natural curve to the Left in most figures. 


Leaders'/Men's Footwork

Starting Diagonal Wall with the two walks forward on your Left then Right feet, you should curve these walks more than you are used to in order to end up facing Diagonal Centre. Continue to curve as you take a third step forward - on your Left foot in CBMP. (Slow, Slow) Your next step is the one that gives this step its name as you step side and slightly back with your Right foot. (In the diagram, this looks like side and slightly forward, however, remember you have transferred your weight onto the Left foot during the third step - so the right foot has already been tracking underneath you and moves side and slightly back compared to where the Left foot currently is. It is not in relation to where the Right foot WAS.) Continue turning during this side step as well so that as you step forward again with your Left foot, you are almost facing Against the LOD. (Quick, Quick, Slow)


You have one more step forward (still curving) on your Right foot before rocking back onto your Left foot, forward onto your Right, and back onto your Left again.(Slow, Quick, Quick)


To finish, you have four steps which are essentially a Back Corte. Take a smallish step back onto your Left foot (pulling your left side back at the same time) and then another step back on your Right foot - leaving your shoulders where they were so that you are in CBMP (this step begins to turn you back towards facing Diagonal Wall - which means that the step itself is Diagonal Centre). Next, take a side step with your Left foot (your toes should be pointing Diagonal Wall but your body isnt there yet) and close your Right foot to your Left to finish facing Diagonal Wall. (Slow, Quick, Quick, Slow)


Followers'/Lady's Footwork

Because of our added two steps at the beginning of this figure, you begin backing Diagonal Wall. The first two steps are taken, Right and then Left, stepping backwards and curving in towards the centre of the room. Take one more step back on your Right - this will be in CBMP. The next step is to the side and slightly forward on your Left foot, before taking another step backwards on your Right to face Against LOD. (Slow, Slow, Quick, Quick, Slow)


Take one more step backwards - on your Left foot - then rock forward onto your Right and back again onto the Left. These rocks should be done along the LOD. (Slow, Quick, Quick)


Then finish the step with what is essentially a Back Corte. Step forward on your Right foot with your Right side leading, forwards again on your Left in CBMP, side with your Right foot to Back Diagonal Wall and then close your Left foot to your Right. (Slow, Quick, Quick, Slow)




Notes for both the Leader and the Follower:

- The angles here are the ones given in the technique book. While you are first learning this, do not worry too much about where you are facing in the middle of the step as long as you start and finish at the right alignments. Once you have the feel of the step, then you can go back and try to get the angles more precise.

- Gents, remember that your lady needs to get around you on steps 11 and 12, so help her out by not taking a huge side step!

Monday, March 07, 2011

Slow Foxtrot - Natural Turn

To finish the short sequence of steps that we have been explaining in the last few posts, the next step often learned in Slow Foxtrot is a Natural Turn.

Again, Ladies, the heel turn comes into play here! Remember, this movement takes practice and a lot of repetition before it starts to feel 'natural' so stick with it and don't cheat by turning it into a normal step.



Leaders'/Men's Footwork


After your Three Step, you are now facing Diagonal Wall. (You can also do a Natural Turn if you are facing LOD.)Your Three Step has brought you back in line with your partner so your first step onto your Right foot should still be in line with her.  As your partner goes into her heel turn, you step with your Left foot to the side, swinging yourself as much around your partner as possible, then continue a little bit of turn as you step back on your Right. (Slow, Quick, Quick). Getting around your partner is important as your partner will be pulled/pushed off of her heel turn if you don't get around her on your own.

You have one more step backwards with your Left foot before stepping a small step to the side and pulling your Left foot along with it (this is called a heel pull). The final step is taken forward on your Left foot - at which point you are now facing Diagonal Centre. The rhythm here changes; it is now Slow, Slow,Slow.


Followers'/Lady's Footwork

As you finished the Three Step Backing Diagonal Wall, that is where you are going to begin this step. (It can also be done starting Backing LOD.) Step back on your Left foot then bring your Right foot together with your Left as you turn (Heel Turn) to face the LOD. Bring the weight onto the balls of your feet (without rising) and step forward onto your Left foot continuing the turn slightly. (Slow, Quick, Quick) The step coming forward out of your heel turn should once again go between your partner's legs - do not try to step outside of him at this stage.

You then have one step forward on your Right foot, a step to the side on your Left foot, and a step back with your Right foot - having tracked the foot underneath you before stepping back. The rhythm for this section changes and becomes Slow, Slow, Slow.


Notes for both the Leader and the Follower:

 - The first step that the Lady takes after her heel turn should come straight forward between the Gent's legs. This is only possible if she has completed the turn - not overturned - and feels that her partner is far enough around her that she wont step on him! Gents, if you do not get far enough around your partner on the Side step (your second step), she will not be able to do this properly.... get around her and help her out, please!

Wednesday, March 02, 2011

Slow Foxtrot - Three Step

Following your Reverse Turn, the most likely thing that you will do, is a Three Step. Much like its name, it is comprised of three steps and is similar to the Feather Step in that regard. Unlike the Feather Step, the Three Step does not go outside partner.

We begin this step facing/backing Diagonal Wall (where we finished the Reverse Turn).


Leaders'/Men's Footwork



Starting with your Right foot, you have three steps, (R,L,R) forward and in line with your partner. There is a sway in the upper body lifting the right side forward and up which helps you get back in front of her after the end of the Reverse Turn. (Slow, Quick, Quick)


Followers'/Lady's Footwork


This, like the Feather Step, for the Lady is a fairly simple step. You have three steps backwards (Left, Right, Left) with no foot rise. You partner is in line with you and you have sway which pulls your left side back and up. (Slow, Quick, Quick)

Notes for both the Leader and the Follower:

- Don't forget that this is Ballroom. Gents, take forward steps with heels first, and Ladies, release the toes of your front foot as you transfer weight back onto the step you have just taken.

Sunday, February 27, 2011

Nice to know you are out there.

I got a bit of a kick this weekend when I was doing some investigation into the links that refer back to this site. In amongst them was one that I just Had to go check out! It seems that someone has used BallroomDanceThing as a reference for a Wikipedia page!

The page is explaining CBMP - or Contra Body Movement Position - and my definition of it here in the Glossary, was one of the sources sited. I cant tell you how much this tickles me... but it also shows that this blog is getting out there.

When I started writing it, I was frustrated with the fact that there was such a great resurgence in dance awareness, but far too little support out there for people learning. I do realise that there are countless videos you can buy which teach you a certain teacher's methods, or even the various association affiliated technique videos. There are also a variety of places you can buy resource materials in print or online form.... but for free? Not much.

So every time that I look at the analytics of this site and see them going up, I feel really pleased that there are other people out there that were obviously feeling the same. I just wanted to say thank you to those of you that have (and do) read this blog. I hope that it has helped you and I know it has helped me. It has often been said that the best way to learn something is to teach it... which is very true... and for me, being able to put it down here in words and diagrams has been as much of a learning experience as doing it for the first time was. I have had to question my instinctive interpretations of some steps, and quite often have to make sure that it is all at least as clear as mud before publishing it for you.

But, no matter what has brought you to this site, I hope it has been helpful and given you what you were looking for. Please don't hesitate to comment on anything and know that I do appreciate your feedback.

Friday, February 25, 2011

Slow Foxtrot - Reverse Turn

Following on from the Feather Step last explained, the next commonly used step in Slow Foxtrot is a Reverse Turn.

This is the first time that the follower will be doing one of the staples of the Slow Foxtrot as far as the follower is concerned - the Heel Turn! Ladies, this will take practice and a lot of repetition before it starts to feel 'natural' so stick with it and don't cheat by turning it into a normal step.

Remember, this dance is characterised by the fact that the feet almost always pass my each other - so it should move and get its fluidity from this.


Leaders'/Men's Footwork


As you are still facing Diagonal Centre after your Feather Step, that is where this step also begins. You are currently on the outside of your partner, so the first step onto your Left foot should aim to get you back in line with her. As your partner goes into her heel turn, you step with your right foot to the side, swinging yourself as much around your partner as possible to end up facing the wall to your left as you step back on your Left. (Slow, Quick, Quick). This is important as your partner will be pulled/pushed off of her heel turn if you don't get around her on your own.

You have one more step backwards with your Right foot before stepping side and slightly forward on your Left foot to point Diagonally to Wall. Then one more step forward (in CBMP) with your Right foot - this is outside your partner. (Slow, Quick, Quick)





Followers'/Lady's Footwork

As you finished the Feather Step Backing Diagonal Centre, that is where you begin this step. Step back on your Right foot then bring your left foot together with your Right foot as you turn (Heel Turn) to face the LOD. Bring the weight onto the balls of your feet (without rising) and step forward onto your Right foot. (Slow, Quick, Quick) This third step should go between your partner's legs - do not try to step outside of him at this stage.

You then have one step forward on your Left foot, a step to the side on your Right foot, and a step back with your Left foot in CBMP. (This IS outside partner... but it is up to Him to make that happen, not you!) (Slow, Quick, Quick)


Notes for both the Leader and the Follower:

 - The first step that the Lady takes after her heel turn should come straight forward between the Gent's legs. This is only possible if she has completed the turn - not overturned - and feels that her partner is far enough around her that she wont step on him! Gents, if you do not get far enough around your partner on the Side step (your second step), she will not be able to do this properly.... get around her and help her out, please!

Monday, February 21, 2011

Slow Foxtrot - Feather Step

One of the most beautiful, and sometimes most challenging, of the Ballroom dances is the Slow Foxtrot. Although it shares part of its name with the Social Foxtrot, it should not be thought of as the same dance.

Unlike most of the other Ballroom dances, it is very rare in the Slow Foxtrot that you will bring your feet together (other than in heel turns for the lady). Throughout this dance, you should try to create a sweeping and swaying movement which covers a Lot of the floor and which uses the momentum of the couple to naturally link one move to the next.

Also unlike any of the other dances we have looked at, the Slow Foxtrot will usually start with the leader facing diagonally into the centre of the room.  This is where we are going to start with the step breakdowns, and though teachers may choose to focus on the Feather Step and Three Step together before adding the Reverse or Natural Turns into the mix, the next few posts will look at each step I have just mentioned in the order that you would typically put them together and as if you have just completed the previous.

Depending on the technique book you look at, there are "extra steps" that technically may also be included in each of these steps, however, as I am essentially stringing them together, these extra steps (which are essentially the beginning of a new step) have generally been left off.



Leaders'/Men's Footwork

The Feather step, as mentioned, starts with you facing diagonally into the centre of the room. This step is comprised of three forward steps: one in line with your partner and two slightly outside. Begin with your Right foot forward in line with your partner (Slow). Then, step forward but slightly out to the left with your Left foot - Left side leading (Quick). Lastly, step forward, outside your partner with your Right foot in CBMP.


Followers'/Lady's Footwork

For you, this step is fairly simple footwork-wise. You have three steps backwards! The tricky things are allowing your upper body to sway from the waist up without affecting your feet and making sure that you have No Foot Rise. You start with your Left foot backwards, follow with the Right foot back, and then the Left. (Slow, Quick, Quick)


Notes for both the Leader and Follower:


- Followers, your partner will be outside you to your Right for two of the steps, so you must ensure that you are not ending up in his armpit - turn your shoulders to remain parallel with his. Leaders, make sure that you actually have your Left Side Leading as mentioned above - turning your shoulders but not your hips as you step outside your partner.

- Gentlemen, you have foot rise, but the Ladies do not. Ladies, all rise must be "Body Rise" which happens within the waist and ribcage - just like taking a deep breath in and lifting from your collar bone. So gentlemen should not over do their rise.

Thursday, February 17, 2011

Samba - Stationary Samba Walks

Much like the Forward Samba Walk, Stationary Samba walks have similar footwork, but as the name suggests, don't travel.

With the "1-and, a, 2" counting already explained in other Samba movements, Stationary Samba Walks are often done facing your partner and in a variety of holds: the simplest of which is two hand hold (often changes slightly so that if you are facing your partner and your forearms are parallel to the floor, there is a break at your wrist so that your palms face your partner - but don't interweave your fingers!). Like the other Samba Walks, this step requires a looseness of hold in order to accomplish it smoothly... you are not going to be able to keep your partner as close to you or in one static position as you may in a lot of the other steps so far. Allow them to move a little further away and come back in towards you throughout the step... a little like breathing!


Leaders'/Men's Footwork


Starting facing your partner, you should have your weight on your Right foot with your Left collected underneath you if you have just finished the Basic Movement (or crossed behind you if you have just finished a whisk).

Place your Left foot on the ground next to your Right foot (a little like a tiny march). (Count "1-and")

Extend your Right foot behind you, simply touching the side of your big toe to the floor. (Count "a")


Putting part weight on your Right foot pull your Left foot along the floor, backwards. ( Count "2") Dont lift your Left foot from the ground or transfer your body weight back over your Right foot. Keep your head, shoulders and hips over your Left foot and simply use your Right foot, extended behind you as a stationary point that you can use to activate your muscles from. Your Left foot should slip back approximately half of your foot length.

Next, bring your Right foot forward to step beside your Left foot. (Count "1-and")

Extend your Left foot behind you, simply touching the side of your big toe to the floor. (Count "a")


Putting part weight on your Left foot pull your Right foot along the floor, backwards. ( Count "2") Your Right foot should slip back approximately half of your foot length.


Followers'/Lady's Footwork


Facing your partner, you should have your weight on your Left foot with your Right foot collected underneath you if you have just finished the Basic Movement (or crossed behind you if you have just finished a whisk).

Lift your Right foot and place it down beside your Left foot on the floor. (Count "1-and")

Extend your Left foot behind you, simply touching the side of your big toe to the floor. (Count "a")


Putting part weight on your Left foot pull your Right foot along the floor, backwards. ( Count "2") Dont lift your Right foot from the ground or transfer your body weight back over your Left foot. Keep your head, shoulders and hips over your Right foot and simply use your Left foot, extended behind you as a stationary point that you can use to activate your muscles from. Your Right foot should slip back approximately half of your foot length.

Reverse, stepping onto your Left foot as you place it beside your Right. (Count "1-and")

Extend your Right foot behind you on Count "a".


Put part weight onto your Right foot to allow you to slide your Left foot backwards about half a foot length. (Count "2")

Notes for both the Leader and the Follower:

- Remember that the bounce action still needs to be maintained. Every time a number is said ("1,2," etc), your knees should be bent. they need to stretch on the half beats in the middle. This is one of the hardest aspects of Samba to master.

Tuesday, February 15, 2011

Samba - Side Samba Walks

As mentioned in the previous Samba Walk post, Samba walks are generally done in two variations at the same time. The first is a Forward Samba Walk and the second is a Side Samba Walk. There are also Stationary Samba Walks, but right now, we are looking at the Side Samba Walk!

Counted the same as the other Samba steps with the first beat broken into half count at first and then split into quarters before taking a full count to complete the movement ("1-and, a, 2"), Samba walks are done moving around the room in the same Line of Dance that you have for the Ballroom dances. (As a travelling dance, in this Samba is slightly different from its fellow Latin Dances; especially the ones often danced socially.) The "Side" in the step name, refers not to the direction of movement generally, but the direction of the second step in the whole movement.

They are also done from an opened Promenade position - meaning that the Man's Right side and the Lady's Left are closer together and the opposite shoulder has opened out slightly so that they are both facing the side wall (with bellybuttons still trying to face each other). For now, keep your partner in hold (Men's Right hand on the Lady's shoulder blade and Left hand holding hers in front of you.) But be aware that this step requires a looseness of hold in order to accomplish it smoothly... you are not going to be able to keep your partner as close to you or in one static position as you may in a lot of the other steps so far. Allow them to move a little further away and come back in towards you throughout the step... a little like breathing!

We are going to combine one Forward Samba Walk with one Side Samba Walk, as the Side Samba Walk should only be done on the outside foot.


Leaders'/Men's Footwork


Starting in promenade position, you should have your weight on your Right foot with your Left collected underneath you if you have just finished the Basic Movement (or crossed behind you if you have just finished a whisk). Step forward (along the LOD) onto your Left foot and a bent knee. (Count "1-and")

Extend your Right foot behind you, simply touching the side of your big toe to the floor. (Count "a")

Putting part weight on your Right foot pull your Left foot along the floor, backwards. ( Count "2") Don't lift your Left foot from the ground or transfer your body weight back over your Right foot. Keep your head, shoulders and hips over your Left foot and simply use your Right foot, extended behind you as a stationary point that you can use to activate your muscles from. Your Left foot should slip back approximately half of your foot length.

Next, step forward on your Right foot remembering to keep your knee bent. (count "1-and")

Extend your Left foot to the SIDE, simply touching the side of your big toe to the floor. (Count "a")


Putting part weight on your Left foot pull your Right foot along the floor, sideways towards the outstretched foot. ( Count "2") Your Right foot should slip side approximately half of your foot length.

Repeat as desired!


Followers'/Lady's Footwork


From promenade position, you should have your weight on your Left foot with your Right foot collected underneath you if you have just finished the Basic Movement (or crossed behind you if you have just finished a whisk). Step forward (along the LOD) onto your Right foot and a bent knee. (Count "1-and")

Extend your Left foot behind you, simply touching the side of your big toe to the floor. (Count "a")

Putting part weight on your Left foot pull your Right foot along the floor, backwards. ( Count "2") Don't lift your Right foot from the ground or transfer your body weight back over your Left foot. Keep your head, shoulders and hips over your Right foot and simply use your Left foot, extended behind you as a stationary point that you can use to activate your muscles from. Your Right foot should slip back approximately half of your foot length.

Next, step forward onto your Left foot. (Count "1-and")

Extend your Right foot to the SIDE on Count "a".


Put part weight onto your Right foot to allow you to slide your Left foot sideways about half a foot length. (Count "2")

Repeat sequence as lead!

Notes for both the Leader and the Follower:

- Remember that the bounce action still needs to be maintained. Every time a number is said ("1,2," etc), your knees should be bent. they need to stretch on the half beats in the middle. This is one of the hardest aspects of Samba to master.

- When you take the side "touch" step, try to keep your body as much over the supporting leg as possible and be aware that your hold is going to need to give a little in order for both of you to slide slightly away from each other.

Friday, February 11, 2011

Quickstep - Running Finish

A nice way to finish off the last quickstep sequence we looked at, which finished with the Leader backing LOD (it can also be danced when the Leader starts Backing Diagonal Wall) is the Running Finish. The key to this step is in its name. It should feel like a run! When danced properly, it has a great feel to it that gives you momentum - which in Quickstep is what it is all about!

The diagrams below show Back Lock, and then Running Finish. (Only the Running Finish is counted as it is the only thing actually explained in the step breakdowns.


Leaders'/Men's Footwork


In this case you are starting Backing LOD (this step can also be done on other alignments), and it is three quick and simple steps. Start by stepping backwards onto your Left foot. Opening your body to the right, step side onto your Right foot and then continue the body movement to step forward (most likely facing Diagonal Wall of New LOD) - wihch means that your Left side is leading. My preferred counting for this is Quick, Quick, Slow; though it is also correct to do Slow, Quick, Quick - to me this breaks the momentum at the beginning and makes it a little trickier to get around.


The next step after this will be outside partner, but can take you into any other Natural figure.


Follower's/Lady's Footwork


For once the Lady is facing LOD at the beginning of a step. Start by stepping forward with your Right foot. Step side onto your Left foot as you feel your partner begin to turn and then backwards onto your Right foot. It is worth noting that at this point, your right shoulder is also pulled back. As mentioned above, my preferred counting for this step is Quick, Quick, Slow, however, it is also correct to dance it Slow, Quick, Quick.


Notes for the Leader and Follower:


- The sway in this movement is what really gives it the nice rush of momentum that you should be aiming to achieve. Guys, you are swaying to the Left on the second and third steps, therefore, Ladies, you are to the Right.

Monday, February 07, 2011

Quickstep - 1-3 Natural and Back Lock

If you have not already looked at the basic Lock Step in Quickstep, I recommend you practice that before this sequence.

This step essentially takes the dancing couple into a lock step in the reverse direction to what they are each usually moving (the Lead is going backwards while the Follow is moving forwards) and in order to get them in that position, we are using the first three steps of a Natural Turn.


Leaders'/Men's Footwork


Starting facing Diagonal Wall, you step forward on your Right foot, side onto your Left foot, and together (Right foot to Left) to end up backing Line of Dance. (Slow, Quick, Quick)


Then begin the Back Lock by stepping back once onto your Left foot, backwards again onto your Right foot, Cross your Left foot in front of the Right, and then backwards again with your Left foot. (Slow, Quick, Quick, Slow)


Followers'/Lady's Footwork


Backing Diagonal Wall, take your first step backwards on your Left foot. Step side onto your Right foot, and then bring your Left foot together with the Right foot. (Slow, Quick, Quick)


You are then facing Line of Dance, and begin the lock step by stepping forward on your Right foot, another step forward on your Left foot, then cross your Right foot behind your Left foot, and one more step forward with the Left. (Slow, Quick, Quick, Slow)



Notes for both the Leader and the Follower:

- As with the "normal" lock step, be careful not to have the Lady end up under the Man's armpit. You ARE slightly outside each other, as it would be impossible to be on the same foot track, but remember you are working together... not running a race. It doesn't matter who gets there first!

Friday, February 04, 2011

Glossary - Fan Position

When you are looking at steps such as the Open Hip Twist into Fan in either Rumba or Cha Cha, it is integral that you really hit Fan Position properly for the rest of the movements to work. As it can sometimes be a little difficult to picture exactly where your bodies are positioned, here is a breakdown of both foot and body placement.

The whole shape of the position, when looked at from above, is much like its name suggests: a fan!


Your bodies are slightly more open than your foot placement which means that the opening of your fan, using your upper body and arms is as important as what your feet are doing.

Tuesday, February 01, 2011

Cha Cha Cha - Hockey Stick

This move begins from the Fan position. Ladies, you are basically retracing the steps from the Open Hip Twist into Fan. Guys,whilst leading your lady and assisting her movements, you are also going to be adding in your more complex chasses. Make sure your leads are definitive and timed at the right moments.


Leaders'/Men's Footwork


As usual, most of your footwork with this step is based around the basic, however we are throwing in complex chasses now rather than the more simple compact chasse that you would be used to. Start this movement in Fan position, standing with your feet apart and on a slight diagonal towards your partner. You are going to do one basic movement stepping forward on your Left foot (Count 2), replacing the weight on your Right (Count 3), and then a Slip Chasse on the 4, and,1 count. (In a Slip Chasse, place your foot - in this case your Left - behind you with part weight, slightly slide your Right foot backwards and then replace the Left foot beside the Right.) You should do all this and accomplish a small amount of turn to get you back to facing a wall instead of a diagonal by the end. As you do this you need to bring your Left hand (the one that is in contact with your partner) forward and in towards your body to make your partner move forwards and by the end of this set of steps you should have your hand drawn across your face, the back of your hand towards your forehead and there should be a window created with your and your partner's arms so that you can see each other.


As you move into the next set of steps, you need to move your hand over your partner's head so that your hand is resting with hers on or near her Left shoulder. You then have another basic movement, stepping backwards this time onto your Right foot on Count 2, transferring the weight forward again onto your Left on Count 3, and then using a lock step chasse forward (following your partner) with your Right foot on Count 4, and, 1.


Followers'/Lady's Footwork


You have a bit of a tricky set of steps to describe, so hopefully with the combination of the words here and the drawn steps, you will get the idea. I have numbered the steps in your diagram rather than labelled the counts as i thought that would be less confusing. So please don't do the rhythm based on the numbers on the diagram!

You are standing in fan with your Right foot extended diagonally towards your partner and weight on your Left. On count 2, bring your Right foot in to your Left foot, put the ball of your foot on the floor (your Right knee should be bent and crossed slightly in front of your left) and change weight so that you end up with your Right foot flat on the floor with a straight leg and your Left foot is now on the ball of the foot with the knee slightly bent and crossed. All of that is on count 2!

Then you have a walk forward towards your partner on your Left foot on count 3 and a lock step forward leading with your Right foot on Counts 4, and, 1. Your partner should lead you straight forward directly in front of him and bring your arm up in front of you so that there is a window between you and your partner when you reach the end of this set of steps. You are facing the wall to his Right.


He will then lead your arm over your head so that your Right hand is holding his and resting on or close to your Left shoulder. With your next two steps (Counts 2, 3 - Left, Right), you actually make a total of a 90 degree turn (some variations are closer to 45 - depends on preference and following steps) and walk away from your partner. At the end of the second step (on count 3) you are wound in your own arm and can only get out of it by unwinding - bringing your Left shoulder back and around - turning on your Right foot before you then step back onto your Left foot for a lock step on Counts 4, and, 1.


Notes for both the Leader and the Follower:


- When you get more comfortable with the steps, you can make the leads sharper and slightly delayed - especially the final turn on count 3. But that requires both partners to be secure in their steps and paying close attention to the leads.