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A l B l C l D l E l F l G l H l I l J l K l L l M l N l O l P l Q l R l S l T l U l V l W l X l Y l Z
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A l B l C l D l E l F l G l H l I l J l K l L l M l N l O l P l Q l R l S l T l U l V l W l X l Y l Z
WALTZ: Danced in European
courts in the mid-1700s, the romantic Slow Waltz is an offspring of the
faster Viennese Waltz in 3/4 time. The rhythm was gradually slowed down
over time as songwriters of ballads and love songs chose to compose in
a slower and more comfortable tempo. This dance has continued to rise in
popularity at anniversaries, graduations, and weddings! Considered the
'Mother' of our present dances and a must for keeping with 'social etiquette',
Waltz
is an excellent dance for strengthening the ankles, knees and balance through
its 'rise and fall' styling. The Waltz also develops softness, elegance
and graceful movement.
MODERN WALTZ: In the early 19th Century, the 'Waltzen' became popular through many parts of Germany and Austria, with the local variants being called by the name of the area in which they were danced. The form from 'Landl ob der Enns' in upper Austria became very popular, and became known by the abbreviated name of the 'Landler'.
The modern Landler. Initially the Landler was danced in heavy shoes, and had animated hopping, slapping and stamping steps, with complex underarm turns. However, by 1800 it was described as being done with lighter shoes, and having the same quick gliding rotating movements steps as the Waltzen but done to a slower tempo.
A more sedate form of the fast Viennese Waltz, danced at a leisurely 90 beats per minute, also evolved in America around 1870 known originally as the 'Boston' (Chujoy, 1967,958). This version of the Waltz retained the characteristic turning figures and added others such as a dip, and was danced with the partners holding their hands on each others hips.
The Boston also had the distinction of being the first ballroom dance to be done with feet parallel (rather than turned out as in ballet). The present form of the dance has been variously described as being derived around 1910 in England both from the Landler and from the Boston.
Either way, the dancers began taking advantage of the slower tempo to add more figures, some with extra syncopated beats, some with slow 'picture' steps. These give the dance light and shade, and make it more interesting to perform and to watch.
TIME: 3/4. Three beats to the bar.
TEMPO: Music should be played at 31 bars a minute.
BASIC RHYTHM: There are no 'Slows' and 'Quicks' in the Waltz. Count 1, 2, 3 with the 1st beat accented.
See Waltz tips
WEAVE: (see grapevine).
WEBSITES: Main World-wide and SA Dance sites
CROSS: To move 1 foot over the other, either in front or behind.
KICK, BALL, CHANGE: May also be done as a Heel, Ball, Change. e.g.:
SWITCH: Shifting weight from 1 foot to the other in a rapid sliding movement.
TOGETHER: To bring the feet together with a change of weight.
WEIGHTED LEG or FOOT or SUPPORT LEG or FOOT: The foot/leg bearing the weight of the body. The foot you're standing on or stationary foot.
WEST COAST SWING: West Coast Swing (WCS) is similar to East Coast Swing (ECS), except that the music is played at a much slower tempo and the style is very laid-back. The West Coast is also danced with much syncopation, by holding count 'one' longer and snapping counts 'two and three' and then varying the fluctuation in-between. This smooth, fluid style of swing is danced to pop music, blues, rhythm & blues and and even house music.
Developed on the West Coast, this slick style of swing has plenty of variety and subtle energetic styles. Slotted, 6-count and 8-count patterns, gives it a unique character and puts it in a class of its own with its turns and tricky footwork. Syncopation and high-lighted styles are common. The man stays pretty much in one place while the woman moves back and forth in a slot. Therefore, it's the woman's movements that are emphasised. West Coast was developed from the roots of Lindy.
As done in the Swing community, the end of patterns typically use an "anchor step" (rock step) and not a "Coaster step." The follower is discouraged from moving forward under her own power at the end of the pattern. Instead, she hangs out until the guy remembers to lead. Another distinction between the styles has to do with the "rock- step." Purists in the swing community claim there is never a "rock- step" in West Coast; by definition the "rock-step" is ECS. In practice, the purists are thankfully in the minority. Yet another distinction between the communities is in leverage and being grounded; the ballroom West Coast dancers are more "up" while in the swing community are more "into the floor."
Similarly, in the ballroom circles there is little leverage while in the swing circles many dancers strive for leverage and connection that appears to be more "heavy." Syncopations appear to be used far more frequently in West Coast than in other Swing styles. One rarely sees syncopations used in the East Coast style or Lindy, but perhaps it is because there is so much more time available with the slow tempi used for West Coast, it seems to be a natural rhythmic response to the music for most dancers.
WCS is a slot dance. In theory, the lady should never step outside her slot (except, of course, to avoid colliding with another couple). The man is normally either at the other end of the slot, or immediately next to the slot so that the woman can pass by him. Her assignment, should she choose to accept it, is to get from one end of the slot to the other, preferably doing something stylish in the process. The man either leads her down the slot, or starts her down the slot then blocks her path, forcing her to go back to the end she came from. There are, of course, various turns, spins, fancy footwork and such associated with these manoeuvres.
WCS is very improvisational among
advanced dancers with "syncopations", i.e. rhythm variations, footwork
variations, body waves, etc. Individual styles vary widely. Most of the
finalists at the US Open Swing competition have radically different styles.
There are no set "rules". There is a lot of leeway for the follower to
improvise and add styling and syncopated footwork, typically as she turns
around at the end of her slot.
Although there are turning figures,
West Coast Swing is a "slot" dance, where the woman travels forward and
back along a single straight line on the floor, with the man moving off
onto her line, shemust still keep to her slot.
The tempo is 28-32 mpm. Figures begin with two walking steps, followed by two triple steps (or a triple step, two walks and another triple, in Lindy-time figures). The second triple step is generally danced in place and is called the "anchor step;" its main purpose is to re-establish physical tension between the partners, generally achieved by leaning slightly back. The style is very casual and sometimes overtly sexual. Perhaps most important, West Coast Swing features many "syncopations," which, rhythmically are minor changes to the basic patterns. The most common is the tap step to replace the first triple step; since both patterns use the same number of weight changes, they are equivalent.
The West Coast basic differs from the East Coast, in that the man's 'back, forward' rock step is done 'back, side' or 'back, back' or 'side, forward', followed by a triple-time coaster.
WHISK TURN (Freestyle): A step to the side on the right foot normally taken with a slight spring action followed by left foot crossed behind right foot with part weight, knees slightly flexed. A turn to the left is then made on the balls of both feet. When half a turn is made the feet finish apart and the weight is usually equally distributed between both feet. When a full turn is made the feet recross and the weight is transferred to the left foot. May commence on left foot. Can also be used as a travelling movement.
WORKING
LEG: The moving leg or the leg that is in action or in the process
of being transferred to another position. Not the weighted
leg or supporting leg.
WORKSHOP is an organised gathering of dance experts whose main aim is to trade minds and impart their knowledge and experiences with each other and with those eager to improve.
WRONG BOOKING (W/B) means, when a pupil is wrongly booked for a private lesson or without knowing of the lesson, by the teacher. The teacher pays the studio for the lesson and owes the pupil a good-will lesson.
