A time-motion analysis of turns performed by highly ranked Viennese waltz dancers By Jerneja Prosen, Nic James, Lygeri Dimitriou, Janez Perš, Goran Vučković
Twenty-four dance couples performing at the 2011 IDSF (International DanceSport Federation) International Slovenia Open were separated into two groups. Time and speed of movement were analysed during single natural and reverse turns performed during the Viennese waltz. The results are of value to dancers and coaches alike.
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.
As it happens to all teachers and coaches, sometimes I am asked to help a couple achieve what another teacher or coach had asked of them. If the couple is a competitive couple, I am often asked to explain how to create more volume, and I always end-up with the same feelings and questions: Why would volume be so important? How can I help and satisfy this couple?
The Footscan can be a useful tool in the enhancement of dance teaching strategies where it can demonstrate the scientific truthfulness of such statements as ‘the weight always remains in the centre during a Rumba basic in place’ or ‘the of centre of weight travels from front to back to front during a forward Rumba walk’.
Delsarte 1871 moves beyond the static systems of gestural actor training that were used in the 17th and 18th centuries by paying close attention to the dynamics of motion. In particular, I became...
This discussion on technique was initiated by Ruud Vermeij in March 2011 A group of questions were asked about technique, to determine how teachers and dancers felt about this aspect of dancing. Questions...