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.
Showing posts with label Latin Dances. Show all posts
Showing posts with label Latin Dances. Show all posts
Friday, April 01, 2011
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.
Next, bring your Right foot forward to step beside your Left foot. (Count "1-and")
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")
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")
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.
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!
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.
Next, step forward on your Right foot remembering to keep your knee bent. (count "1-and")
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")
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.
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.
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.
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.
Saturday, January 29, 2011
Cha Cha Cha - Open Hip Twist into Fan
Much like the Hip Twist and Fan in Rumba, this step follows the same patterns but in a Cha Cha rhythm. This is a very standard step and one which sets the slightly more experienced student from the absolute beginner.
Leaders'/Men's Footwork
There are a couple of different options for you guys with this step. I am going to start giving you some of the different types of chasse that you can and should be starting to use by this point. If you ever feel a little overwhelmed, go back to a basic simple chasse (three steps in place) until you have the rest of the movement and feel confident to try the complex chasses again.
Starting in open position (one hand hold), with your weight on your Right foot, you will step forward onto your Left foot on count 2. Bring your weight back onto your Right foot on count 3. Here is the first of our complex chasses - a Slip Chasse. Touch your Left foot back behind you with part weight, slip your Right foot slightly towards your back foot (similar to the movement you would have used in your samba walks), and then place your Left foot beside your Right foot (4, and, 1). Try not to take your body weight back over the foot placed behind you - keep it over your Right foot and make sure you still keep a solid connection with your follower to allow her to turn in her Hip Twist.
Now, take your follower into Fan Position by leading her to move forward (your Left) as you step back onto your Right foot (Count 2), replace the weight on your Left foot on count 3 (start thinking about angling your body slightly to the diagonal towards your partner), and then we have our next complex chasse - a Hip Twist Chasse. (Though there are many styling options here, I am going to explain the easiest version.) Cross your Right foot forwards and across your body - hips and lower body turning more than your shoulders (Count 4), uncross your feet placing your Left foot beside your Right (Count 'and'), Step to the side onto your Right foot facing the diagonal (Count 1). You and your partner should now be in Fan position.
Followers'/Lady's Footwork
Starting in open position (one hand hold), with your weight on your Left foot, step back onto your Right foot (like in the basic) on count 2 and then replace your weight to the Left foot on count 3. Your partner should lead you to do a lock chasse forward using your Right foot, coming towards him as he stays in the same place (4, and, 1). The lead arm therefore becomes a lot more compact. Dont allow your elbow to get behind your body at any point. As you come forward there will no longer be room for you to travel and this will cause you to pivot on your Right leg (just after you count and step "1") and finish facing the wall that was to your right. You should still have connection with your partner through your Right arm, but it is also wrapped in front of your body at this point.
You then have two steps forward (Left, Right) before you cant really go any further whilst still holding on to your partner! So at the end of the second step (on Count 3) you will unwind with half a turn on your Right leg. Step backwards into a lock step with your Left foot (4, and, 1). Ending in Fan position.
Notes for both the Leader and the Follower:
- The final pivot for the Follower must not be rushed into and also needs to be distinctly created by the Leader. In order to make this transition the most effective, both parties, need to be very aware of their arm placement and the connection between them.
- As the Follower has quite a few steps in this sequence which lead away from the Leader, it is important that both people are aware of how far they are getting away from each other and that the joined arms are not overstretched.
Leaders'/Men's Footwork
There are a couple of different options for you guys with this step. I am going to start giving you some of the different types of chasse that you can and should be starting to use by this point. If you ever feel a little overwhelmed, go back to a basic simple chasse (three steps in place) until you have the rest of the movement and feel confident to try the complex chasses again.
Starting in open position (one hand hold), with your weight on your Right foot, you will step forward onto your Left foot on count 2. Bring your weight back onto your Right foot on count 3. Here is the first of our complex chasses - a Slip Chasse. Touch your Left foot back behind you with part weight, slip your Right foot slightly towards your back foot (similar to the movement you would have used in your samba walks), and then place your Left foot beside your Right foot (4, and, 1). Try not to take your body weight back over the foot placed behind you - keep it over your Right foot and make sure you still keep a solid connection with your follower to allow her to turn in her Hip Twist.
Now, take your follower into Fan Position by leading her to move forward (your Left) as you step back onto your Right foot (Count 2), replace the weight on your Left foot on count 3 (start thinking about angling your body slightly to the diagonal towards your partner), and then we have our next complex chasse - a Hip Twist Chasse. (Though there are many styling options here, I am going to explain the easiest version.) Cross your Right foot forwards and across your body - hips and lower body turning more than your shoulders (Count 4), uncross your feet placing your Left foot beside your Right (Count 'and'), Step to the side onto your Right foot facing the diagonal (Count 1). You and your partner should now be in Fan position.
Followers'/Lady's Footwork
Starting in open position (one hand hold), with your weight on your Left foot, step back onto your Right foot (like in the basic) on count 2 and then replace your weight to the Left foot on count 3. Your partner should lead you to do a lock chasse forward using your Right foot, coming towards him as he stays in the same place (4, and, 1). The lead arm therefore becomes a lot more compact. Dont allow your elbow to get behind your body at any point. As you come forward there will no longer be room for you to travel and this will cause you to pivot on your Right leg (just after you count and step "1") and finish facing the wall that was to your right. You should still have connection with your partner through your Right arm, but it is also wrapped in front of your body at this point.
You then have two steps forward (Left, Right) before you cant really go any further whilst still holding on to your partner! So at the end of the second step (on Count 3) you will unwind with half a turn on your Right leg. Step backwards into a lock step with your Left foot (4, and, 1). Ending in Fan position.
Notes for both the Leader and the Follower:
- The final pivot for the Follower must not be rushed into and also needs to be distinctly created by the Leader. In order to make this transition the most effective, both parties, need to be very aware of their arm placement and the connection between them.
- As the Follower has quite a few steps in this sequence which lead away from the Leader, it is important that both people are aware of how far they are getting away from each other and that the joined arms are not overstretched.
Sunday, January 17, 2010
Samba - Style
The style of Samba is one that is very different from the rest of the Latin Dances. Based more on the bounce motion that is integral to the movement, Samba uses the forward and backwards movement of the pelvis in conjunction with the bend and stretch of the knees rather than purely side to side hip movement.
As many people know, Samba originated in Brazil and though formalized in the Ballroom and Latin syllabus, should still bring to mind a party spirit and a sense of fun.
One of the hardest Ballroom/Latin dances to dance socially, the Samba has a lot of movements that are done out of the closed hold and which generally require the partners to be very clear with and aware of what their partner is doing. There are tonnes of variations on the basic steps and attention should be taken to make no assumptions about which variation will be done.
One of the key elements to making the Samba feel correct is the bounce which should go down on the full count (1, 2, etc) and up on the half beat (&) or delayed until the "a" - which occurs on the last quarter beat. This bounce is then used to drive the movements and is manipulated to create the different rhythms within the dance.
As many people know, Samba originated in Brazil and though formalized in the Ballroom and Latin syllabus, should still bring to mind a party spirit and a sense of fun.
One of the hardest Ballroom/Latin dances to dance socially, the Samba has a lot of movements that are done out of the closed hold and which generally require the partners to be very clear with and aware of what their partner is doing. There are tonnes of variations on the basic steps and attention should be taken to make no assumptions about which variation will be done.
One of the key elements to making the Samba feel correct is the bounce which should go down on the full count (1, 2, etc) and up on the half beat (&) or delayed until the "a" - which occurs on the last quarter beat. This bounce is then used to drive the movements and is manipulated to create the different rhythms within the dance.
Friday, October 23, 2009
Rumba - Style
Rumba is one of those dances that requires a lot of control though your centre and needs to be carried by the style and presentation of it more than the footwork alone. Because it is generally quite slow, especially when learning the basics, Rumba needs to utilise all the hip movement that it can and must be very conscious of the music and its impetus for movement.
Concentrating on connection with your partner and sustaining movement throughout the steps will give you the smooth and sultry style that is associated with the Rumba. Because the steps are slower, and in general, slightly less complicated than other latin dances, this is a great opportunity for you to pay close attention to the give and take connection between you and your partner. And, to make sure that each move is actually being led and not simply done because it has been taught.
Making sure that you never stop the movement of the dance - by maintaining control of your movements at all times and sustaining your hip action over the course of all the steps - will help you to feel as though you are settling into this dynamic and luxurious feeling dance. But if you allow it to get too squared off and prescribed, it can easily lose its appeal.
My strongest advice is simply to relax and enjoy it!
Concentrating on connection with your partner and sustaining movement throughout the steps will give you the smooth and sultry style that is associated with the Rumba. Because the steps are slower, and in general, slightly less complicated than other latin dances, this is a great opportunity for you to pay close attention to the give and take connection between you and your partner. And, to make sure that each move is actually being led and not simply done because it has been taught.
Making sure that you never stop the movement of the dance - by maintaining control of your movements at all times and sustaining your hip action over the course of all the steps - will help you to feel as though you are settling into this dynamic and luxurious feeling dance. But if you allow it to get too squared off and prescribed, it can easily lose its appeal.
My strongest advice is simply to relax and enjoy it!
Friday, October 16, 2009
Jive - Style
Jive is one of the only dances that allows you to have a bit of a jumpy skip in the chasse movement. This is NOT, however, license to hop all over the place. Throughout the Jive, especially with the two chasses when moving side to side, you should imagine your head being kept at one central location and that your feet/hips are swinging in a pendulum style movement underneath you.
Keep all your movements small, as the Jive gets very fast, and make sure that you are not transferring your body and head weight back when you do the rock step. You need to make sure the heel of the back foot touches the floor, while maintaining a body position that has minimal change. (If you allow your body weight to transfer back with your foot, you will firstly be unable to maintain the speed necessary and secondly will possibly separate yourself too far from your partner.)
The Jive should be light and fun and the hold should remain flexible and much more relaxed than any ballroom stance.
Keep all your movements small, as the Jive gets very fast, and make sure that you are not transferring your body and head weight back when you do the rock step. You need to make sure the heel of the back foot touches the floor, while maintaining a body position that has minimal change. (If you allow your body weight to transfer back with your foot, you will firstly be unable to maintain the speed necessary and secondly will possibly separate yourself too far from your partner.)
The Jive should be light and fun and the hold should remain flexible and much more relaxed than any ballroom stance.
Friday, October 09, 2009
Cha Cha Cha - Style
The Cha Cha - as I am sure you know - is a fun and flirty dance that has energy and personality throughout. As one of the dances that is usually taught first, it holds a lot of the techniques necessary for many of the other Latin dances as well.
It is necessary throughout this dance to keep your toes connected to the floor and allow all your steps to work through your feet. There are NO heel steps! (I often say that you should imagine a £50 note under your toes - and if you lift your feet off the ground ... you lose it!)
Another important characteristic is the hip movement. What most people don't realise is that the hip movement that you can see when watching performers or competitors stems from a completely natural movement that occurs when you have one heel on the floor and one not. Of course, it can he heightened and exaggerated and at times pushed beyond what would be needed on a social floor, but a relaxed easy hip movement is completely achievable.
If you stand with your feet together and simply bend one knee and remove that heel from the floor, you should find that your weight moves slightly over your supporting leg to help you balance. The easiest way to do THAT is to sit into your hip. If you then just switch your weight onto the other side and change bent knees/lifted heels, you will have already started a natural hip movement.
What I am trying to say is that your hip movement comes every time that you put your heel down during the dance - which for Cha Cha, is all the time! Just think about letting your hip push slightly out every time you put your heel down on each foot and you will quickly find a natural amount of hip movement will infuse your dancing.
It is necessary throughout this dance to keep your toes connected to the floor and allow all your steps to work through your feet. There are NO heel steps! (I often say that you should imagine a £50 note under your toes - and if you lift your feet off the ground ... you lose it!)
Another important characteristic is the hip movement. What most people don't realise is that the hip movement that you can see when watching performers or competitors stems from a completely natural movement that occurs when you have one heel on the floor and one not. Of course, it can he heightened and exaggerated and at times pushed beyond what would be needed on a social floor, but a relaxed easy hip movement is completely achievable.
If you stand with your feet together and simply bend one knee and remove that heel from the floor, you should find that your weight moves slightly over your supporting leg to help you balance. The easiest way to do THAT is to sit into your hip. If you then just switch your weight onto the other side and change bent knees/lifted heels, you will have already started a natural hip movement.
What I am trying to say is that your hip movement comes every time that you put your heel down during the dance - which for Cha Cha, is all the time! Just think about letting your hip push slightly out every time you put your heel down on each foot and you will quickly find a natural amount of hip movement will infuse your dancing.
Thursday, October 01, 2009
Samba - Turning Voltas
This step is one that is a nice way of moving from a variety of different steps and back into a closed hold. It incorporates the Whisk step and the Voltas that have been described before and are essentially an underarm turn for the Lady.
Leaders'/Men's Footwork
The Leader simply does 2 Whisks, Left first then Right.
Followers'/Lady's Footwork
Using the Volta motion that you have already practised, take a step onto your Right foot turning to your right. Try to take a fair amount of the turn with this step - ideally to face the wall behind you.
Bring your Left foot behind your Right, turned out, with part weight (dont put your heel down) to lift your Right foot and complete the turn to face your partner.
Then complete with a Whisk to the Left matching your partner.
Notes for both the Leader and Follower:
- Leaders, dont attempt to turn your partner for her, allow her to complete the movement naturally. Ladies, try not to move the first step too far away from your partner sop that you can remain connected to him and return to essentially your original position.
Leaders'/Men's Footwork
The Leader simply does 2 Whisks, Left first then Right.
Followers'/Lady's Footwork
Using the Volta motion that you have already practised, take a step onto your Right foot turning to your right. Try to take a fair amount of the turn with this step - ideally to face the wall behind you.
Bring your Left foot behind your Right, turned out, with part weight (dont put your heel down) to lift your Right foot and complete the turn to face your partner.
Then complete with a Whisk to the Left matching your partner.Notes for both the Leader and Follower:
- Leaders, dont attempt to turn your partner for her, allow her to complete the movement naturally. Ladies, try not to move the first step too far away from your partner sop that you can remain connected to him and return to essentially your original position.
Friday, August 21, 2009
Samba - Voltas
Voltas are one of those steps that will either fall in easily or that you will have to think about a bit before they work - sort of like skipping. The basic movement is the same for either partner and can be done in a variety of different ways choreographically. To begin with, we will just look at the footwork.
Step side onto your side on your Left foot, stretching your knees. (Count "and")
Voltas move because of one foot crossing in front of the other. In this case we are going to say it will be the Right foot. When crossed, your knees should be bent and "inside" one another - the back of your Right knee in contact with the front of your Left. (Count 1 - or any other number count)
Repeat at will until you decide to change direction/hear a change in the music.
Step side onto your side on your Left foot, stretching your knees. (Count "and")
Voltas move because of one foot crossing in front of the other. In this case we are going to say it will be the Right foot. When crossed, your knees should be bent and "inside" one another - the back of your Right knee in contact with the front of your Left. (Count 1 - or any other number count)
Repeat at will until you decide to change direction/hear a change in the music.
Monday, July 20, 2009
Samba - Botafogos
When you look past the slightly funny name, Botafogos are an interesting and useful Samba step. They can be used to travel or to change direction, get you out of closed hold and generally create the big frame and movement that Carnival (where Samba originates) evokes.
Both the Leader and Follower do the same movement with the feet, although generally this is done as a Shadow step - meaning that the couple is moving in opposite directions. First though, to learn, it is best to just get the footwork.
Remember that Samba counts generally as "1+, a, 2" with the first beat being split into quarters. "1+" equals 3/4 of the beat and "a" equals the last quarter. "2" is a full beat.
Footwork for Leaders and Followers
Start facing a wall with your feet together but your weight on your Left foot, Right foot on the ball of your foot. (This is an arbitrary choice as this step can start on either foot.)
Step forward in a diagonal across your body, onto a bent knee, using your Right foot. Leave the ball of your Left foot where it was, but allow it to 'turn out' (be in a position where the inside of your heel is closer to the floor). This should put you in a lunge type position. (Count "1+")
Leaving your weight over your Right foot, move your Left foot to the side to create the opposite diagonal. (Count "a") Only place PART WEIGHT on this foot as you use it to shift the angle of your body and underneath leg - in this case your Right - finishing facing a new diagonal, still in a lunge position, for Count "2".
You are now ready to step forward on this new diagonal with your Left foot into a new lunge. (Count "1+").
Swing your Right leg to the side with part weight on Count "a" and then change your body and foot alignment to the first diagonal on Count "2".
Repeat as desired!
Notes for both the Leader and Follower:
- As described above, this is an individual step, however, if done after a step such as your samba walks, you are both facing in the same direction but on opposite feet. Maintaining connection with your outisde arm (Men's Left to Lady's Right), you can each do Botafogos with your free foot, stepping in opposite directions - these are Shadow Botafogos.
Both the Leader and Follower do the same movement with the feet, although generally this is done as a Shadow step - meaning that the couple is moving in opposite directions. First though, to learn, it is best to just get the footwork.
Remember that Samba counts generally as "1+, a, 2" with the first beat being split into quarters. "1+" equals 3/4 of the beat and "a" equals the last quarter. "2" is a full beat.
Footwork for Leaders and Followers
Start facing a wall with your feet together but your weight on your Left foot, Right foot on the ball of your foot. (This is an arbitrary choice as this step can start on either foot.)
Step forward in a diagonal across your body, onto a bent knee, using your Right foot. Leave the ball of your Left foot where it was, but allow it to 'turn out' (be in a position where the inside of your heel is closer to the floor). This should put you in a lunge type position. (Count "1+")
Leaving your weight over your Right foot, move your Left foot to the side to create the opposite diagonal. (Count "a") Only place PART WEIGHT on this foot as you use it to shift the angle of your body and underneath leg - in this case your Right - finishing facing a new diagonal, still in a lunge position, for Count "2".
You are now ready to step forward on this new diagonal with your Left foot into a new lunge. (Count "1+").
Swing your Right leg to the side with part weight on Count "a" and then change your body and foot alignment to the first diagonal on Count "2".
Repeat as desired!
Notes for both the Leader and Follower:
- As described above, this is an individual step, however, if done after a step such as your samba walks, you are both facing in the same direction but on opposite feet. Maintaining connection with your outisde arm (Men's Left to Lady's Right), you can each do Botafogos with your free foot, stepping in opposite directions - these are Shadow Botafogos.
Friday, July 10, 2009
Rumba - Hockey Stick
Picking up where we left off last week, this move will begin from the Fan position. Ladies, this will be sightly trickier for you than the guys as you are the one doing all the changes of directions. I know you can handle that! Guys, dont forget that because your footwork is fairly straight forward, you are supposed to be leading your lady and assisting her movements - not making anything difficult for her! Make sure your leads are definitive and timed at the right moments.
Leaders'/Men's Footwork
As usual, you guys have it easy. You are currently, if we are taking this from the end of the Fan that we did last week, 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 putting your Left foot together with your right on the 4-1 count and changing the weight so that you have your Right foot free. 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. (Which makes my drawing of it look a lot more complicated than it actually is!) 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 stepping forward (following your partner) on your Right foot on Count 4-1.
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 to the side 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 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 two walks forward towards your partner on counts 3 and 4-1. First your Left foot and then your Right. Your partner should lead you forward like this 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.
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), you actually make a total of a 90 degree turn 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 turning - bringing your Left shoulder back and around - on your Right foot before you then step back onto your Left foot on count 4-1.
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.
Leaders'/Men's Footwork
As usual, you guys have it easy. You are currently, if we are taking this from the end of the Fan that we did last week, 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 putting your Left foot together with your right on the 4-1 count and changing the weight so that you have your Right foot free. 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. (Which makes my drawing of it look a lot more complicated than it actually is!) 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 stepping forward (following your partner) on your Right foot on Count 4-1.
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 to the side 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 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 two walks forward towards your partner on counts 3 and 4-1. First your Left foot and then your Right. Your partner should lead you forward like this 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.
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), you actually make a total of a 90 degree turn 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 turning - bringing your Left shoulder back and around - on your Right foot before you then step back onto your Left foot on count 4-1.
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.
Friday, July 03, 2009
Rumba - Fan
Fan Position is a common staple that is used in Rumba and Cha Cha regularly. It is a natural following step from something like the Open Hip Twist that was described last week; amongst other things!
Leaders'/Men's Footwork
Often this is done on the second half of a set of steps, therefore meaning that you step back on your Right foot on Count 2, replace the weight onto your Left foot on count 3, and then, in order to maintain a connection with your partner, step forward and slightly to the side on your Right foot on Count 4-1 so that you end up on a diagonal.
You should have connection with your partner through your Left arm/hand and should ensure that you actually lead her movements and dont just assume that she will do everything in the direction and at the times that you want her to. You should be familiar with her steps so that you know when she should be where.
Followers'/Lady's Footwork
For the moment, think that you have just finished your open hip twist, you are standing there with your weight on your Right foot and are facing the side. Your Right hand is in your partner's Left and it is wrapped in front of your body. This is a common place to do the fan, and though the footwork doesn't change much if you are going into it from a different step, the beginning position probably will.
Step forward on Left foot on Count 2. Take another step forward on Count 3. As you transfer your weight onto the Right foot, unwind on Count "and" to face the wall behind you and then step back onto your Left foot on Count 4-1, leaving your Right foot extended and pointed in front of you.
Notes for both the Leader and the Follower:
- Ladies: dont walk too far away from your partner. You only have the total distance of the length of your arm combined with the length of his... and neither should EVER be completely straight. Gents: you can prevent her getting too far away by keeping your elbow in close to your waist on the first two steps.
Leaders'/Men's Footwork
Often this is done on the second half of a set of steps, therefore meaning that you step back on your Right foot on Count 2, replace the weight onto your Left foot on count 3, and then, in order to maintain a connection with your partner, step forward and slightly to the side on your Right foot on Count 4-1 so that you end up on a diagonal.
You should have connection with your partner through your Left arm/hand and should ensure that you actually lead her movements and dont just assume that she will do everything in the direction and at the times that you want her to. You should be familiar with her steps so that you know when she should be where.
Followers'/Lady's Footwork
For the moment, think that you have just finished your open hip twist, you are standing there with your weight on your Right foot and are facing the side. Your Right hand is in your partner's Left and it is wrapped in front of your body. This is a common place to do the fan, and though the footwork doesn't change much if you are going into it from a different step, the beginning position probably will.
Step forward on Left foot on Count 2. Take another step forward on Count 3. As you transfer your weight onto the Right foot, unwind on Count "and" to face the wall behind you and then step back onto your Left foot on Count 4-1, leaving your Right foot extended and pointed in front of you.
Notes for both the Leader and the Follower:
- Ladies: dont walk too far away from your partner. You only have the total distance of the length of your arm combined with the length of his... and neither should EVER be completely straight. Gents: you can prevent her getting too far away by keeping your elbow in close to your waist on the first two steps.
Saturday, June 27, 2009
Rumba - Open Hip Twist
A very common step in Rumba, especially in combination with the Fan and Hockey Stick, the Open Hip Twist is much what it says it is.
Leaders'/Men's Footwork
Starting in open position (one hand hold), with your weight on your Right foot, you will step forward onto your Left foot on count 2. Bring your weight back onto your Right foot on count 3. Place your Left foot beside your Right on Count 4 and use until the end of count 1 to transfer your weight fully onto that leg. (It is your weight transfer that will cause the Lady to do the twist part of her step... so ensure that your lead arm does not go behind your body and that you do the full weight transfer.
Followers'/Lady's Footwork
Starting in open position (one hand hold), with your weight on your Left foot, step back onto your Right foot (like in the basic) on count 2 and then replace your weight to the Left foot on count 3. Your partner should lead you to step forward onto your Right foot, coming towards him as he stays in the same place. The lead arm therefore becomes a lot more compact. Dont allow your elbow to get behind your body at any point. As you and your partner both settle into your hips at the end of the 4-1 count, his hip movement, will cause you to pivot on your Right leg and finish facing the wall that was to your right. You should still have connection with your partner through your Right arm, but it is also wrapped in front of your body at this point.
Notes for both the Leader and the Follower:
- The pivot at the end must not be rushed into by the follower, but also needs to be distinctly created by the Leader as he changes the weight from one foot to the other. In order to make this transition the most effective, both parties, need to be very aware of their arm placement and the connection between them.
Leaders'/Men's Footwork
Starting in open position (one hand hold), with your weight on your Right foot, you will step forward onto your Left foot on count 2. Bring your weight back onto your Right foot on count 3. Place your Left foot beside your Right on Count 4 and use until the end of count 1 to transfer your weight fully onto that leg. (It is your weight transfer that will cause the Lady to do the twist part of her step... so ensure that your lead arm does not go behind your body and that you do the full weight transfer.
Followers'/Lady's Footwork
Starting in open position (one hand hold), with your weight on your Left foot, step back onto your Right foot (like in the basic) on count 2 and then replace your weight to the Left foot on count 3. Your partner should lead you to step forward onto your Right foot, coming towards him as he stays in the same place. The lead arm therefore becomes a lot more compact. Dont allow your elbow to get behind your body at any point. As you and your partner both settle into your hips at the end of the 4-1 count, his hip movement, will cause you to pivot on your Right leg and finish facing the wall that was to your right. You should still have connection with your partner through your Right arm, but it is also wrapped in front of your body at this point.
Notes for both the Leader and the Follower:
- The pivot at the end must not be rushed into by the follower, but also needs to be distinctly created by the Leader as he changes the weight from one foot to the other. In order to make this transition the most effective, both parties, need to be very aware of their arm placement and the connection between them.
Monday, June 22, 2009
Jive - Link and Whip
Getting a little more advanced with the Jive, is the Link and Whip. In my mind, this step is great for adding a bit of momentum into your dancing. It requires both partners to work together in close proximity and can provide a nice little adrenaline rush when done quickly!
Starting from open, usually one hand, hold, this step takes you slightly away from your partner at the beginning in order to bring yourselves close and around in a circle.
Leaders'/Men's Footwork
You start with your Rock step going back on your Left foot. You then take a small chasse, practically on the spot but leading your partner to come towards you and slightly to your Right side.
Then cross your Right foot behind your left foot, turning your body as much as possible at this time as well. Step to the side with your Left foot continuing the turn and hopefully getting about 3/4 of the way around by this point. Then face the direction you started as you do your chasse to the Right: Right foot side, Left foot together, Right foot side.
Followers'/Lady's Footwork
The diagram for this step looks scary ladies, but it is actually a lot easier than it sounds. Do your Rock step first, stepping back on your Right foot and replacing the weight to your Left.
Then take a chasse slightly forward towards the right side of your partner; Right foot forward, Left foot together, Right foot forward. during this chasse you should start to turn to the right as if you are walking in a circle around your partner. You then have two walks, Left, Right, around your partner to complete as much of the turn as possible. And chasse to the Left (Left foot side, Right foot together, Left foot side) to complete the turn if necessary and come back directly in front of your partner.
Notes for both the Leader and the Follower:
- You need to work together to get around the turn. If you fight each other or do not use each other's momentum, you will not get around.
- Keep your upper body in closed hold during the turn and do not allow the lady to end up under the man's armpit! (Take hold as you come towards each other in the first chasse.)
- Ladies, you are on the outside of the circle, men, you are on the inside.... the step will not work if the men try to move too much or if the ladies stay on the same spot!
Starting from open, usually one hand, hold, this step takes you slightly away from your partner at the beginning in order to bring yourselves close and around in a circle.
Leaders'/Men's Footwork
You start with your Rock step going back on your Left foot. You then take a small chasse, practically on the spot but leading your partner to come towards you and slightly to your Right side.
Then cross your Right foot behind your left foot, turning your body as much as possible at this time as well. Step to the side with your Left foot continuing the turn and hopefully getting about 3/4 of the way around by this point. Then face the direction you started as you do your chasse to the Right: Right foot side, Left foot together, Right foot side.
Followers'/Lady's Footwork
The diagram for this step looks scary ladies, but it is actually a lot easier than it sounds. Do your Rock step first, stepping back on your Right foot and replacing the weight to your Left.
Then take a chasse slightly forward towards the right side of your partner; Right foot forward, Left foot together, Right foot forward. during this chasse you should start to turn to the right as if you are walking in a circle around your partner. You then have two walks, Left, Right, around your partner to complete as much of the turn as possible. And chasse to the Left (Left foot side, Right foot together, Left foot side) to complete the turn if necessary and come back directly in front of your partner.
Notes for both the Leader and the Follower:
- You need to work together to get around the turn. If you fight each other or do not use each other's momentum, you will not get around.
- Keep your upper body in closed hold during the turn and do not allow the lady to end up under the man's armpit! (Take hold as you come towards each other in the first chasse.)
- Ladies, you are on the outside of the circle, men, you are on the inside.... the step will not work if the men try to move too much or if the ladies stay on the same spot!
Tuesday, June 16, 2009
Jive - Hip Bumps
(Sorry for the delay on this and the following entries... I had a busy few days and didnt manage to get my days straight before I threw myself into the heady enjoyment of it all. Will get back on track and back to normal this week.)
Hip Bumps in Jive are one of those steps that you either find fun and amusing or think are silly and not worth doing. Either way, it is worth setting them out here and letting you choose whether you incorporate them into your dancing or not!
Quite simply, the footwork for both parties is very similar to that of the Basic Movement, but has a curve in terms of the direction you are moving.
Starting in Left to Right hand hold, you both do your rock step as usual (Counts 1, 2) and then, keeping the connecting hand down and slightly in front of your body, do your chasse sideways in towards your partner (Counts 1-2-3). Tap your hips together on the last half of the 3rd beat. And chasse back out away from your partner either in a straight line away in order to repeat the hip bump, or swinging back around to face your partner. (Counts 1-2-3).
Leaders'/Men's Footwork diagrams:
(The last chasse isn't included in the diagrams as it can either go straight to the side or curve back around to face your partner.)
Followers'/Lady's Footwork diagrams:
(The last chasse isn't included in the diagrams as it can either go straight to the side or curve back around to face your partner.)
Hip Bumps in Jive are one of those steps that you either find fun and amusing or think are silly and not worth doing. Either way, it is worth setting them out here and letting you choose whether you incorporate them into your dancing or not!
Quite simply, the footwork for both parties is very similar to that of the Basic Movement, but has a curve in terms of the direction you are moving.
Starting in Left to Right hand hold, you both do your rock step as usual (Counts 1, 2) and then, keeping the connecting hand down and slightly in front of your body, do your chasse sideways in towards your partner (Counts 1-2-3). Tap your hips together on the last half of the 3rd beat. And chasse back out away from your partner either in a straight line away in order to repeat the hip bump, or swinging back around to face your partner. (Counts 1-2-3).
Leaders'/Men's Footwork diagrams:
(The last chasse isn't included in the diagrams as it can either go straight to the side or curve back around to face your partner.)
Followers'/Lady's Footwork diagrams:
(The last chasse isn't included in the diagrams as it can either go straight to the side or curve back around to face your partner.)
Friday, June 05, 2009
Jive - American Spin
The American Spin is a nice simple step that can look quite impressive and, in my opinion, is a lot of fun too. (But I have always been partial to turning!)
Essentially, this moves sees the gentleman acting as a strong, stable source from which the lady can get momentum and balance. Just like in everyday life, right, boys? ;)
Leaders'/Men's Footwork
Once again, you have it easy boys. Your footwork is simply a basic; do your rock step and then two small chasses practically on the spot. If you move, you will make things very difficult for your partner.
Start in a Left to Right hand hold, lead her forward towards you on the first chasse, but dont let your elbow get behind your body. That tension will allow her to feel that she can use the strength in your arm to push off (when indicated, of course) and do her turn. In between the two chasses give her a very slight releasing push with your hand and prepare to collect her hand again at the end of the chasse. You can take her into Left to Right hand hold and repeat, or you can take her hand as she faces you again and collect her into closed hold to get into any other step. (Counting should be something like: "Rock, Step, 1, 2, 3, push, 1, 2, 3")
Followers'/Lady's Footwork
You have the tricky job again, ladies! I know you can handle it! Start with your regular Rock Step backwards on your Right foot, and when led, take the first chasse forwards towards your partner instead or to the side.
This should create a nice resistance in the connection between you and your partner in your arms. Never allow your elbow to get behind your body.
As you finish the first chasse, and just before the second, your partner will give you a small 'release' although you should be creating your own momentum by storing the potential in your connection with your partner. Your chasse will have been Right, Left, Right, so leave your Right foot where it is, pick up your Left foot and turn towards your partner/the Right,
completing the last chasse (Left, Right, Left) either facing your partner and moving to the left, or use it to complete your turn if you dont feel comfortable spinning the whole way around on half a beat.
Notes for both the Leader and the Follower:
- Connection with you rpartner is very important. Girls, use your men, that is what they are there for - to help stabilise you and to give you something to push off of in order to get your turn going. Guys, be aware that any significant action you do to try to 'help' you partner in this situation is more likely to actually throw her off. Be gentle, but solid, for her!
Essentially, this moves sees the gentleman acting as a strong, stable source from which the lady can get momentum and balance. Just like in everyday life, right, boys? ;)
Leaders'/Men's Footwork
Once again, you have it easy boys. Your footwork is simply a basic; do your rock step and then two small chasses practically on the spot. If you move, you will make things very difficult for your partner.
Start in a Left to Right hand hold, lead her forward towards you on the first chasse, but dont let your elbow get behind your body. That tension will allow her to feel that she can use the strength in your arm to push off (when indicated, of course) and do her turn. In between the two chasses give her a very slight releasing push with your hand and prepare to collect her hand again at the end of the chasse. You can take her into Left to Right hand hold and repeat, or you can take her hand as she faces you again and collect her into closed hold to get into any other step. (Counting should be something like: "Rock, Step, 1, 2, 3, push, 1, 2, 3")
Followers'/Lady's Footwork
You have the tricky job again, ladies! I know you can handle it! Start with your regular Rock Step backwards on your Right foot, and when led, take the first chasse forwards towards your partner instead or to the side.
This should create a nice resistance in the connection between you and your partner in your arms. Never allow your elbow to get behind your body.
As you finish the first chasse, and just before the second, your partner will give you a small 'release' although you should be creating your own momentum by storing the potential in your connection with your partner. Your chasse will have been Right, Left, Right, so leave your Right foot where it is, pick up your Left foot and turn towards your partner/the Right,
completing the last chasse (Left, Right, Left) either facing your partner and moving to the left, or use it to complete your turn if you dont feel comfortable spinning the whole way around on half a beat.
Notes for both the Leader and the Follower:
- Connection with you rpartner is very important. Girls, use your men, that is what they are there for - to help stabilise you and to give you something to push off of in order to get your turn going. Guys, be aware that any significant action you do to try to 'help' you partner in this situation is more likely to actually throw her off. Be gentle, but solid, for her!
Friday, May 29, 2009
Cha Cha Cha - Underarm Turn
Today we are going to look at both an Underarm Turn to the Left and and Underarm Turn to the Right. They vary only in the direction that the lady is turning.
This step can be used in one direction or in both, whichever fits in with your sequence of steps.
Leaders'/Men's Footwork
You have it easy, gents... your footwork is the Basic Movement! (So no diagrams for you today!)
All you need to do to initiate the turn is raise your Left arm on your Cha Cha Cha (Chasse) to the Left. Then, as you take your back step, your partner will turn underneath the raised arm and face you again for the Chasse to the Right. To turn her the other direction, as you are Chasse-ing, raise the left hand again and bring it across your body between you. This will ensure that your partner turns the right direction. Take the forward step of your Basic as she turns and you will both join back together for the Chasse.
Followers'/Lady's Footwork
Although the guys have it easy in terms of footwork, you dont have it too much harder, ladies! You have already done a spot turn. Well, and underarm turn is basically a spot turn while holding on to your partner.
During half of a basic movement (when you are stepping back), as you Chasse to the Right, your partner will lift his Left/your Right hand.
Step forward with your Left foot, exactly like in the spot turn,
leave your Right foot where it is, turn away from your partner and return your weight to your Right foot. (Counts 2, 3)
Complete the movement with the Cha Cha Chasse to the Left facing your partner. (Counts 4-and-1)
If he then takes your right hand and leads it across your body on that chasse, he is leading you into the turn on the other side. Step forward onto your Right foot,
turn away from your partner but leaving your feel where they are and replace the weight onto your Left foot, ready to Chasse to the Right.
Notes for both the Leader and Follower:
- Leaders, don not think that you need to turn your lady with your left arm... allow her to turn herself! It will save a lot of sore arms and shoulders. Your arm/hand is simply there to guide her.
- Followers, do not grip your partner's hand while you are turning. You will end up hurting one or both of you! Your hands should be lightly resting in each others... which allows for an easy turn.
- Do not forget the timing of your own footwork. Just because you are doing different things with your feet, you should not get distracted or put off by this difference. Get your own footwork so that you dont have to worry about it while you are leading or taking direction.
This step can be used in one direction or in both, whichever fits in with your sequence of steps.
Leaders'/Men's Footwork
You have it easy, gents... your footwork is the Basic Movement! (So no diagrams for you today!)
All you need to do to initiate the turn is raise your Left arm on your Cha Cha Cha (Chasse) to the Left. Then, as you take your back step, your partner will turn underneath the raised arm and face you again for the Chasse to the Right. To turn her the other direction, as you are Chasse-ing, raise the left hand again and bring it across your body between you. This will ensure that your partner turns the right direction. Take the forward step of your Basic as she turns and you will both join back together for the Chasse.
Followers'/Lady's Footwork
Although the guys have it easy in terms of footwork, you dont have it too much harder, ladies! You have already done a spot turn. Well, and underarm turn is basically a spot turn while holding on to your partner.
During half of a basic movement (when you are stepping back), as you Chasse to the Right, your partner will lift his Left/your Right hand.
Step forward with your Left foot, exactly like in the spot turn,
leave your Right foot where it is, turn away from your partner and return your weight to your Right foot. (Counts 2, 3)
Complete the movement with the Cha Cha Chasse to the Left facing your partner. (Counts 4-and-1)
If he then takes your right hand and leads it across your body on that chasse, he is leading you into the turn on the other side. Step forward onto your Right foot,
turn away from your partner but leaving your feel where they are and replace the weight onto your Left foot, ready to Chasse to the Right.
Notes for both the Leader and Follower:
- Leaders, don not think that you need to turn your lady with your left arm... allow her to turn herself! It will save a lot of sore arms and shoulders. Your arm/hand is simply there to guide her.
- Followers, do not grip your partner's hand while you are turning. You will end up hurting one or both of you! Your hands should be lightly resting in each others... which allows for an easy turn.
- Do not forget the timing of your own footwork. Just because you are doing different things with your feet, you should not get distracted or put off by this difference. Get your own footwork so that you dont have to worry about it while you are leading or taking direction.
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