Dance, Dance, Dance To The Distortion

I promised myself I was going to try to keep tonight’s post shorter than things have been lately, so that’s what I’m shooting for. Especially since next weekend is going to be so full of dance stuff that I will likely make all sorts of notes about. Those, of course, will end up posted here. But I’m getting ahead of myself. Let’s start back at the beginning…

Last Saturday afternoon when I met up with Sir Steven and Sparkledancer for our normal weekend session, Sir Steven had originally wanted to start off by looking at some new figures in Tango to use for the crazy idea I had for the Fancy Dance Hall’s summer showcase. However, Sparkledancer stopped us both short by saying that she has some work training event that she has to go to this summer, which happens to be the same weekend that the showcase is scheduled for. She can’t get out of that training, so she has to bow out of the performance. I don’t have a backup partner prepared for events like this, much less someone whom I know would trust me enough to let me pick her up and throw her around in a showcase, so I said that I would shelve the idea for another occasion in the future. With that, Sir Steven thought about things for a few minutes to figure out what we would do instead, and put us to work on something else.

We went back to focus on the swing and sway in various parts of our figures again. There were a few points that stick with me as things I need to keep more in my mind as we go forward, since they’ve sort-of fallen by the wayside as I’ve gotten all this other information that I was told to make my priority instead. One thing in particular was in Foxtrot: during the first Feather that I go through, I guess my second step on my left foot was starting to look too much like a forward step instead of a side step, especially when I am thinking about other things (like the proper swing of the figure) when I take the step. That’s something I really need to make sure not to do. I’ve done tons of Feather steps in Foxtrot without issue, so I shouldn’t start creating problems now!

We also spent some time focusing on the Natural Spin Turn in Waltz. This was one of those things that the Princess and I had looked at quite a bit during my coaching session with her while Sparkledancer was on vacation. I’m not sure why Sparkledancer and I hadn’t gone through any Natural Spin Turns together in the practice time we had put in after she got back, but apparently we hadn’t. Sparkledancer was surprised the first time that we went through the figure, since it felt noticeably different to her, so it threw her off a little. I had to stop and tell her about the things the Princess had told me to make sure I was doing to make sure we were on the same page before trying things again. Sir Steven as listening to me talk and nodding along, and at the end he smiled and said that Spin Turns were kind of the Princess’ thing, and she really liked to focus on working on them with people.

The Natural Spin Turns we did afterward were much better, as you can imagine. Sir Steven wanted us to really work on following through even more with the rotation in our upper body at the end of the spin, but to do so while making sure that we didn’t rotate our feet any farther (it is an Under-Turned Natural Spin Turn, after all). There were a few times where we didn’t control the rotation enough while trying to turn from our waists and upper body, which caused our feet to pivot further, so we ended up accidentally coming out of the Natural Spin Turn toward backing diagonal center instead of backing diagonal center against line of dance. On top of that, we had to make sure that we were balanced enough at the end of the rotation to really drive out into the Reverse Turn once we finish spinning. There were times that I came out of the turning and rotating and didn’t have enough of a hold to push out of my right leg with any force, so the last step of the Natural Spin Turn onto my left leg was kind of weak and puny. Sigh… yet another thing to add to my list to focus on during practice, right?

This past Monday night I did manage to get to Latin Technique class. I felt bad for missing class more often than not lately, so even though it was pouring down monstrously that night, I put on my galoshes and headed out to dance. I was one of the few that dared to make the trip that night – when I got to the Electric Dance Hall the only other people in the building besides Lord Junior were Veep and Sparkledancer, and no one else showed up after me. With an even number of men and women for a change, Lord Junior decided to work on a Samba figure with us that really requires both partners to get through successfully. Plus, Lord Junior said that since Sparkledancer and I really only compete in ballroom styles, this figure would still be good for us because some of the ideas you have to keep in mind while going through the steps translate, since the figure is exactly like a common ballroom dance step.

Truly monstrous outside!

The specific figure that Lord Junior wanted to look at was the Samba Roll, which are essentially the same footwork as a Reverse Turn in Viennese Waltz. We ended up doing them in Shadow Position that night, so I guess it would be more like American Viennese Waltz than International, if you want to be specific. Anyway… to get into the figure, we started out on one end of the floor with the ladies opened up out to our right and a bit in front of us, while we had our weight on our left leg with our right leg pointed to the side. The lady would then roll in across our arm toward us, starting on beat seven in the music and doing two turns, ending facing down the line of dance with their weight on the right foot. The Leads would just transfer our weight to our right leg while the lady rolled, helping to guide her with our arms so that she wouldn’t roll away from us, and pivoting 90° as she finished turning to get us into Shadow Position.

On beat one of the next measure we started the Samba Rolls. I’m sure you’ve seen these done before – essentially what you do is that, while move your feet like a Viennese Waltz Reverse Turn, you both lean forward (so the Lead is over the Follow’s back) on the first half of the turn, and then you roll backward (so the Follow is over the Lead’s chest) on the second half. It’s not a hard movement to do by yourself, but you really need to practice a few times with a partner to make sure the two of you are in sync during your movements or it ends up looking crazy. If you watch really high-level dancers do this move in videos and such, you’ll see that they lean waaaaaaaaay over each other as they turn, but if you are doing these with a partner during a normal dance and you really focus on doing the rotations with your core, you don’t have to lean over so far to make the figure look really impressive to anyone watching.

We practiced doing several full turns down the floor to make sure that everyone felt good with them, and then Lord Junior decided to cut the number of turns that we would actually do and give us a good way to get out of the figure and go into something else. The progression still began the same way, with the lady rolling across the Lead to go into the Samba Rolls. We did one and a half full revolutions of those, which should have you standing sort-of backing line of dance with your left foot crossed in front of your right. Then, straightening back up from the lean required for the Samba Rolls, we did essentially an Outside Change from Waltz to turn around and head down the line of dance with two Cruzados Walks and a Lock Step (still in Shadow Position). To finish things, we added on three Curved Runs, the first traveling forward, the second backward, and the third forward again. If curved correctly, the three of those should curve you right around a corner to head down the next wall.

Finally, on Wednesday night I ended up out at Standard Technique class. We looked at some Foxtrot that night, which worked out pretty well for me because it allowed me to focus on some things that Sir Steven had told me to focus on in Foxtrot the previous Saturday, like taking a side step during a Feather and the correct swing and shaping in my Feather and Three Step. The figures that we went over that night weren’t anything all that hard, at least for me, and I’m fairly certain everyone in class had done at least a version of the steps before in some dance. I say that because some of the ladies had trouble that night with the last figure that we did, which was a Natural Twist Turn. This figure is a pretty common Bronze-level figure in International Tango, which is why I would think most people would have done it before. However, in International Foxtrot it is a Gold-level figure – apparently this is because the steps during second beat are syncopated. Other than that, it should feel pretty much the same.

Our progression that night had us starting backing diagonal wall on one wall and going right into an Outside Spin, turning a corner in the process. We came out facing line of dance down the new wall and went right into a Feather and Three Step combo. This was the piece that really tied things in with what I was working on during my lesson the previous Saturday. While rotating through partners during class, I made sure to keep my frame nice and strong and to emphasize the swing and shaping through the Feather and Three Step. Some of the ladies in class responded nicely to what I was doing, while others allowed their right arm to bend out of position rather than turn their bodies with me. It certainly seemed like the ladies who are still not comfortable with being in direct body contact with me (they tend to maintain a three or four inch space between us) had a much harder time feeling the rotation I was doing through my body, so I imagine that is a big part of why their right arm ended up bending when I rotated myself.

After we finished up the Three Step we went right into the Natural Twist Turn. I had no problem with the steps for this figure, since all I had to do was take three steps and then twist around. Unfortunately, several of the ladies got caught on the wrong foot somehow many of the times that they went through their steps. I think some of the confusion came from one point where they weren’t supposed to actually take a step, but rather just transfer their weight between their feet without moving their feet. That seemed to be the most common point of confusion. Once we got past that, we came out of the Natural Twist Turn with the Hover Feather ending. The Natural Twist Turn is one of the few places you can naturally add on a Hover Feather because of the heel pull that you do, so Lord Junior decided to take advantage of that fact to have us work on the Hover Feather.

(Note: a Hover Feather really isn’t too complicated, it’s just a Feather Ending you do from a rise. Since we were already lowered down at the end of the Natural Twist Turn, we would have to add in the foot rise for the Hover Feather right before taking the first of the two steps)

I don’t know about you, but this weekend is going to be super busy for me with all the dance things going on that I’m supposed to attend. First off, Friday was the day picked to have a party to celebrate the anniversary of the opening of the Electric Dance Hall. Then on Saturday I have to spend a bunch of time at the Endless Dance Hall to help put the place together for the formal dance party I am helping to host there that night. In between the setup and the dance party, I have a coaching session with Lord Dormamu scheduled at the Fancy Dance Hall. Then that night I have to make my way back to the Endless Dance Hall to actually attend the formal party.

With all of that stuff going on during the day on Saturday, I had to push my normal lesson with Sir Steven from Saturday afternoon to Sunday afternoon, because I didn’t think I would be able to fit that in otherwise. Also on Sunday, Lord Junior has some super-high-level coach coming in from somewhere to give a workshop late in the afternoon. The workshop this person is doing is covering some Latin dance style, so while I was invited to attend, if I get exhausted and fall asleep instead of going I probably won’t cry… but I’ll at least try to make it. Lord Junior has asked me several times this week if I’ll be there, so either he needs to make sure he has enough men, or he just really wants my company for some reason.

Those are all my weekend plans. I hope yours are even more exciting than mine!

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