Many many times I have heard this from people of all levels. The cause of this I hinted at during my last article. Many articles on these pages are based from a man’s stand point. In this one I have tried to give the ladies view point as well. Normally this is on the inside of an open reverse turn i.e. an open telemark. I hinted at it in my last little bit of writing that caused a “war and peace” type debate with Benoit Papineau.
Dance lifts- Is it all about the muscles? By Aleksandar Josipovic Boys are stronger than girls!?…. …I’m not muscular enough …. How many times have you heard these kind of answers and excuses...
There have been more words spoken and written about the Waltz Natural Turn than any other twenty steps combined. Back in 1974, Michael Barr and Vicki Green visited New Zealand. In the time...
As an Examiner, I find that few candidates have any understanding of why a movement is performed in a certain way. They generally can recite the technique as written in chart form, but do not know why some steps have sway and others do not, do not comprehend what a foot position is, have twisted minds (and bodies) as to the meaning of CBM, and generally have a far lower standard of technical knowledge than students had twenty, thirty or more years ago.
Barry Gasson provides a valuable study of the unwritten technical details that create beautiful Forward and Backward Walks.
In the world of Ballroom Dancing, there are literally millions of variations, steps, figures, choreographic highlights, trick-steps etc. None of them come remotely close to the importance of the right foot walk, or more importantly, the differences that exist between the right foot walks when performed in different dances.
It is my deepest conviction that many dancers don’t tap their full potential, and that this is mainly due to monotonous and one-sided training. Many dancers will experience an unbelievable amount of progress if they follow modern and scientifically proven ways of training.
In ‘target orientated’ techniques we see a functional movement with a clearly defined target to perform. Here, it is not judged how a movement itself is executed. However in combination sports, technique is not just the means to end on but a means of artistic expression and a criterion for judging.
In recent years (by recent I mean anything from the sixties on) much ado regarding the difference between the Rhumba walks in American Style contrasted to that of what is now known as International Style has been a hot topic to which continuous emphasis is lent with the emergence of each new generation of dancers.
Much has been said on these pages and others regarding the timing or the lack of it these days, in Slow fox and Quickstep a slow relates to two beats and a quick one beat (4/4). But what does slow and quick mean in terms of relative time?