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DANCE: Recurrent flow of foot
and body movements set to music.
DANCE BOOKS are reference books compiled specifically for the dancer and teacher on technical information regarding steps, footwork, styling, dance directions and tips, the history of the dances, etc. some of the best books available are;
DANCE
COMPETITIONS:
A 'Competition' is an organised gathering
of Amateur/ Professional Competitors, officials and spectators for the
purpose of holding a competitive event, to judge and determine top dancers
of each section.
PROFICIENCY CLASSIFICATIONS: There are general amateur competitive classifications for each age group and style that relate to proficiency. They are, from lowest to highest:
JUNIOR:
Amateur Competitors are eligible
to compete in the Junior classification if they: a) are 15 years old or
younger, AND b) have not danced in the finals of a National or Regional
level qualifying event in a higher age classification in a particular style.
Upon losing their eligibility they shall dance in the next lower proficiency
classification in the next higher age classification.
YOUTH:
Amateur Competitors are eligible
to compete in the Youth classification if they: a) are 17 years old or
younger, AND b) have not danced in the finals of a National or Regional
level qualifying event in a higher age classification in a particular style.
Upon losing their eligibility they shall dance in the next lower proficiency
classification in the next higher age classification.
ADULT:
Amateur Competitors are eligible
to compete in the Adult-A classification only if: a) they are 18 years
of age or older, OR b) their partner is 18 years of age or older.
SENIOR:
Amateur Competitors are eligible
to compete in the Senior classifications only if they BOTH meet the age
limit set by the event organiser.
If there is no age limit specified,
it shall be assumed to be 35 years of age. The proficiency class in which
Amateur Competitors may compete in this age classification shall be no
lower than the highest of their ADULT proficiency classifications.
DANCING YOUR FIRST COMPETITION:
The very first thing to realise is
that competing, is by no means the same as taking medal tests. In a competition
the judges are primarily concerned with whether one couple is 'better'
than another. Correct technique is one thing which the judge will note,
but it is only one of many. Moreover, certain aspects of technique assume
much more importance in competitions and others rather less. So it by no
means follows that because a couple have had an excellent medal test 'career'
they will do well in competitions.
A judge watching a competition is usually trying to compare one couple with another and both of them against some mental picture or criteria of his own ideal. In view of the number of couples normally on the floor this means that the judge must make his assessments rapidly.
When first competing it is, therefore, most important to do nothing which presents you at less than your best. While it is not good enough to be entirely negative, the main consideration should be to avoid creating any picture which might cause a judge to react unfavourably.
Eventually to win contests, a much more positive approach will be needed and the competing couple will have to attract the judges' eyes but, with perhaps the exception of a really outstanding pair, couples are well advised not to aim too high at the start.
Perhaps the most important feature on which to concentrate at first is general appearance. The stance and hold are, at all times, of paramount importance. The man must avoid the raised right shoulder, or even the coat hanger effect created by raising both shoulders, stand up without tilting the head forward or allowing the tail to stick out at the rear. Body tensions must be avoided which are so often seen creating the creases and the folds in the back of the man's coat. These are just one or two of the many things which go towards creating the pleasing picture which all judges are seeking. The lady has corresponding details to worry about.
She must hold her head back and yet this must be done without creating tension which, in this case, can show as wrinkles in the skin of the neck. The whole trunk of the body must incline away from the man but this must be done from the hips and not by arching the back in the waist and making a hollow in the small of the back. The position of the left hand and the grouping of the fingers of the hand are also points which can affect the overall picture.
Many articles could be written about details but that is not the intention. Rather is it mainly to point out the pitfalls. This question of appearance is so important it is quite impossible to over-emphasise it. No matter how complex the figure, or how difficult it is to dance, the appearance must be kept just as good as if you were walking round the room. For this reason no figure or group should be danced which causes the slightest deterioration in appearance.
Beginners often try to do too many groups: this gives them too much to practise and none of the work reaches the standard it might have achieved if they had concentrated their energies more. Three or four groups, together with the basic work, are quite sufficient in each dance. Care should be exercised to ensure that the groups are in keeping with the particular dance. For the competition beginner it is most important that the groups should have the character of the particular dance. This is more likely to impress the judge than a large repertory of advanced figures, danced not quite well enough.
Finally, it is useless to expect to start winning competitions immediately, or even for some little while. This is not because judges will not mark you until you have served an apprenticeship but because couples who compete a lot acquire an 'experienced' look. This appearance of experience always scores points. Try to approach any competition with the right mental outlook -- that you are going to enjoy the competition and not worry unduly about the result. It can be great fun but it can also be the reverse, so be warned.
DANCING COMPETITIVELY is a completely different ballgame to social dancing. Like any other competitive sport, competitive dancing is extremely serious. At the professional level there are large sums of money involved.
Competitive dancing can be split up into 3 categories:
Amateur: Amateur dancing is the most common form of competitive dancing. Several of amateur dancers start between the ages 7-10, and continue dancing so as to become professionals. These are of course the best amateur dancers. The top level of amateur dancing is extremely competitive, and is very similar to professional dancing. The quality of the dancing can reach as high as that of the professionals.
There are also the less committed, or late starting amateurs who compete because they enjoy it. Some ex-students whom competed at college enter the amateur circles after graduation. At the less serious level of amateur dancing the atmosphere amongst the dancers is often very good. At the serious level it is much harsher. At amateur and professional level it is the couple that are important. They dance for themselves only.
Collegiate: Collegiate dancing really comes under the amateur category. The reason why it is a category of its own is that collegiate competition is very different to the amateur circles. The atmosphere is much better than that of top level amateur and professional. The dancers are dancing for their university, not just for themselves. This is important as it creates a better friendship amongst the dancers.
Also the judges do not know the dancers and must therefore only judge on the dancing itself, and not other unimportant things. At intercollegiate competitions they hold team competitions as well as open competitions, for all students.
Professional: Professional dancing is highest level of competitive dancing. Only the best of the best make it into this category. Most professionals started at a very young age and have danced all their life. They have devoted an enormous amount of time to their dancing.
When doing competitive modern dancing there are several important points that the dancers remember. If any one of these points is forgotten it can cost the dancers dearly in the competition. As dancers improve these points become a natural part of their dancing, and they don't have to think about them anymore.
Timing: It is essential to always
be on time with the music. This is imperative when dancing competitively.
If you dance off time you will not be marked through to the next round.
Frame: To go far in dance competitions
the dancers must have a good frame, i.e. a good body posture. A good frame
consists of a straight back, arms wide, neck stretched and head slightly
up, facing to the left
Smile: Always try to smile in competitions.
It can be very difficult, but it gives a good impression on the judges
(see judging criteria).
Competitions are usually organised so that all the ballroom dancers are done first, and then the Latin dancer follow afterwards, or vice versa. The dances are organised in such a way that all the individual competitions work their way to the final together. For example the first round of the Waltz might be followed by the first round of the Quickstep, etc.
There are several judges, strategically placed around the floor. Each judge is asked to mark a certain number of dancers through from each round. The dancers with the most marks make it through to the next round. In the final the judges will give each couple a position, and the couple with the best scores wins.
Reasons Why You Should Compete:
There are lots of "bad" reasons why dancers compete. Here are the good ones:
1. Competing affords you opportunity to travel and see your country, as well as other countries. You get to meet fascinating people of all nationalities with the same interest – DANCING and the excitement of COMPETING in the sport.
2. It provides opportunities to dance in full regalia with a skilled partner in total tune to good music on a spacious floor, amidst couples who know how to dance well to that music. The occasions for doing this outside competition are almost non-existent. When dancing of this kind goes well, it is the zenith of the ballroom experience – it doesn't get any better than that. Your average social ballroom dance is a pretty poor substitute.
3. Competing compels dancers to practise, and to practise is great exercise. After a strenuous session of rehearsing, your muscles feel well-worked, your heart pumps and you know you are that edge fitter and smarter, that’s pure dance joy, pure stimulation. At the time, it seems like drudgery, but practising is the substance that adds adrenaline to your actions, to your attitude, to your soul – the catalyst and promise to sweet success.
4. Winning a round or edging up the ladder of success or earning your first or next trophy is the sincerest praise you can receive for the efforts you endure for the love of your sport – the achievements; the cherries on the top – they serve to recognise your perseverance for striving to reach your goals.
5. Competition dancing gives you scope to develop an ‘attitude’ for dance – a ‘dancer’s’ attitude. Thus letting you express yourself totally in music and movement. You become immersed in another world many times beyond the mundane – a lift above the ordinary. The dancer’s ‘attitude’ adds energy, stance and confidence to your everyday life.
6. It is the best way to find out how good you are. You can’t trust your own judgement. Others, however, mostly will not or cannot tell you honestly and accurately. Competing cuts through the bull. As soon as you have progressed beyond the stage of outright beginner, people are constantly telling you how good you are. Mostly, this is meaningless. Out of tact, politeness or whatever, people will very rarely tell you that your dancing totally sucks even when it does. Your friends will flatter you to make you feel good. Your instructors will say "that's good" to encourage you and build your confidence.
People who know nothing about dancing will gush about how well you dance (a boost for the ego). Nobody will say "I'd be really embarrassed if I danced like you" or "that's really mediocre dancing". Further, even if others wanted to let us know exactly how well or badly we were dancing, they wouldn't have the vocabulary. Mostly, all they can say is things like "that's not bad". But when you compete, you get a much more honest and specific idea. You find out that you're good enough to make a semi-final (or whatever). That’s fine, it’s generally not always completely objective and accurate. So what? It’s still the best standard or yardstick to go by. It saves you from labouring under false illusions.
DANCE CONTRACT is an agreement signed between a student/s and the studio stipulating certain conditions and advantages to both parties. It states that the studio will teach the student a given number of lessons for which the student will pay. It, therefore, protects the student from a studio selling him/her dance lessons on cash terms, collecting the money, and then not delivering the services promised. Like-wise, it protects the studio from a student using or taking all the lessons under contract, but not paying for the services rendered.
The advantages of signing a long-term dance contract is that the lesson-rate is usually much lower than the standard rate, and should the price of lessons rise during the contract period it would not affect the student's contracted rate. It also compels the pupil to complete the project properly by taking all the lessons contracted for. The disadvantage is that it binds the student to a lengthy period, so if the unforeseen happens he/she/they would still be obliged to pay.
A dance contract does not promise the student a specific instructor (unless stipulated in the contract), it promises to provide a qualified teacher who will teach him/her/they to dance. It states that a lesson booked must be cancelled 8 to 10 hours in advance of the time arranged, or the lesson will be forfeited by the student (see ctl or dns).
To ensure satisfactory progress, the contract also makes provision for regular attendance of lessons on the part of the pupil (see lesson Time).
By law, a contract may be cancelled unconditionally by the student, if notice thereof is giving within 3 days of the signed date. Thereafter the demands are generally watertight, i.e. if the studio insists on the money being paid by the student.
DANCE ETIQUETTE is the man's duty, in social dancing, to politely ask the lady for a dance, by saying, 'Would you like to dance?' or 'Shall we dance'. He should then make a special effort to please her on the dance floor through his leading skills and sociable manner. At the end of the dance he should thank her for the dance and escort her back to her seat. The lady should never refuse, except when the man is intoxicated or she has seen him behaving badly, etc. If she refuses, for whatever reason, she must not accept another partner until that dance is over.
Dance etiquette is being polite, having good DANCE manners and being considerate towards other dancers on the dance floor (see etiquette).
DANCE EXAMS (social) are generally based on a Medallist or Syllabus system, whereby students perform a specific number of grades or dances to achieve diplomas and medals in Bronze, Silver, Gold and higher standards. In competitive work points are earned for Bronze, Silver and Gold levels and the competitor must adhere strictly to the laid-down figures and techniques of these levels.
To pass an Exam in certain social schools the candidate is required to first undertake a schoolfigures, i.e. he/she must be judged privately on the figures for the particular standard alone, without a partner. Thereafter, the pupil performs those same figures with a partner publicly, in what they call a Freestyle Exam.
The pupils also dance 2 to 4 figures per dance of 6 to 8 dances and receive a diploma for each grade - Preliminary, Intermediate, Senior and Final. On completing their Final they receive a medal.
Many social schools require the Freestyle section only and the candidate may attempt a complete dance with all 10 or 15 figures. These schools issue 1 diploma for each level, say Bronze, and the pupil must pass 10 complete dances to fill the diploma before earning the Bronze medal.
Basic Requirements For Social Dance Exams
Posture and
floor appearance
When checking posture, the examiner
wants to see whether the correct hold has been assumed; are the elbows
raised correctly? Is the body and head turned slightly left? Are the shoulders
relaxed? Does the left arm for both the gent and the girl remain in position
during side steps of the ballroom (moving) dances? Are the shoulders in
the Latin dances slightly in advance of the hip for both partners?
Attention to the above pointers will enhance the candidate's general floor
appearance and give the examiner more to praise.
Ease of movement
By the second grade, the entrant's
ease of movement should be more evident and a suggestion of Latin hip and
arm style introduced. 'Soft' knees always help to give the movement
a touch of ease which eliminates the "stiff" look.
Sound technique, regularly practised, brings out the best style in every dancer. Although each dance has its particular style and character, style must, to a certain extent be adapted to suit the personality of the dancer. Students who are shy or inhibited will look awkward and feel embarrassed doing elaborate arm styles or exaggerated hip movements. To these types a toned-down style could give a sophisticated appearance. Similarly, a student with much flair and animation should be encouraged to give expression to this talent without going over-board.
Rhythmic
expression
Rhythmic expression goes a shade
beyond just dancing in time to the music. It is also an interplay of holding,
snapping and accentuating certain movements so as to blend the dancer's
movements rhythmically with the beat and the melody of the music. This
'light' and 'shade' adds much expression to the general presentation of
the dance. Normally, this type of dancing belongs to the 'natural' dancer
but patterns such as the drag in the Swing, the whisk and chassé
in the Waltz, the promenade point in the Tango, the breaks and cross turns
in the Rumba, all help the student develop this kind of syncopated style
of dancing.
Leading and
following
Does the man have a firm hold and
does he lead with his body? If the man does both these things and knows
his patterns well, then his lead will be smooth and definite. Holding the
girl too fight restricts her movement and flow; holding the girl
too loose keeps her guessing about what's to come.
Does the girl wait for the lead or does she anticipate her partner's movement? If the girl waits for her partner and knows her patterns, she will respond well to whatever he leads, whether his step is right or wrong. Unity of movement is what the examiner will want to see as the couple dance through the patterns.
Presentation in general
In brief, general presentation includes;
appearing confident, enjoying the dance, interpreting the character of
the dance with pleasing style and sound technique. But the main ingredient
for social dancing is ENJOYMENT ... Does the entrant look as though he/she
is enjoying the dance, enjoying the music, enjoying the patterns? Social
dancing must always have an air of FUN about it .... IT'S SUPPOSE TO BE
FUN, SO HAVE FUN.
On forward and back steps the feet must not turn out (duck style) or in (pigeon style). In relation to the body, they must point directly forward. To avoid the wide-legged look, both the man and the girl should brush the moving foot closely passed the supporting foot. This is know as Brush and Follow-through.
On back steps the toe of the supporting foot should be released as the weight is transferred over the moving foot. Feel a "rolling-over" action. This exercise develops ankle control and balance.
Whenever the feet are brought together, bring them neatly together by feeling the ankles meet.
Knees
The knees should never be rigidly
stiff or overly bent, just relax and they must be kept that way throughout.
Length of
Stride
When learning to dance it is always
better to exaggerate the length of stride. By doing so you develop lightness
through body control. It is therefore, suggested that you stride out a
little more at the early stages of your development. The accepted length
of stride in dancing is a shade bigger than a normal walking stride.
The easiest way to increase a forward stride is; when moving forward push your body or your weight off the back foot and strongly onto the heel of the moving foot. To increase your back stride; reach back from the hip on to the tip of the toe. This will increase your stride without extra strain and force you to stretch your ankle.
Head And
Shoulders
The head very seldom turns left or
right independently of the shoulders. When the shoulders turn left or right
the chin is kept up and the head turns with the shoulders. There
is no partner more uncomfortable to dance with than the one who turns his/her
head and shoulders to the right when dancing in closed position in the
closed ballroom dances. Technically, it is very unnatural to dance this
way, but beginners, particularly girls who don't know how to follow, look
to the right and down, thus twisting the body into this unnaturally stance.
For partnership dancing and movement, be sure the shoulders stay in a 'left'
turned position and the chin is kept up.
Rise And
Fall
Two-step, also known as social Foxtrot,
has no noticeable body rise and fall, all the action is in the ankles and
occurs on all quick counts. Your first quick is taken to the side on the
toe, and the moment your second quick moves towards your first quick then
the heel of the first quick slowly begins to lower and continues to do
so until the second quick reaches the first quick where the heel of the
first quick lowers completely. A good exercise is to dance a series of
chasses, practising this ankle rise and fall.
Waltz
Most of what has been mentioned in the two-step applies to the Waltz with the following differences:
Rise And
Fall
The Waltz develops a dancer's balance
and control and it's the strong rise and fall movement that helps to achieve
this. To master the correct rise and fall movement of the Waltz, this is
what happens; the man takes a normal step forward on count
one. As his weight is transferred over count one he relaxes his knee slightly.
Count two is swung to the side which he reaches out to do. Count three
he rises, to begin the rise by elevating his weight up onto his toes. To
control the rise he now places firm pressure on the foot that is drawn
up to finish the movement, making sure the feet are brought tightly together
as the peak of the rise is reached.
Hints
Level Progression
To capture the Tango atmosphere,
a level movement must be maintained throughout. Bobbing up and down in
Tango will definitely not gain favour with the examiners. The easiest way
to understand what is meant by level progression is; imagine you have a
glass of water on top of your head and I don't want you to spill a drop,
so we will have to keep your movement very level'. You would also have
to keep your knees more relaxed than is needed in the Two-step or Waltz.
Footwork
In Tango the feet are skimmed and
placed into position, where as in two-step and Waltz the feet skim the
floor smoothly. Technically, because the hip and shoulder are turned more
to the left in Tango (the crab-like look), the footwork also changes. That
is, all forward steps taken with the left foot are placed outside edge
of heel and all forward steps taken with the right foot are placed inside
edge of heel. The lady's footwork would be the natural opposite when stepping
back.
Brushing the moving foot closely passed the supporting foot in progressive steps applies to Tango as well.
Sharp Staccato
Action
The sharp staccato movement in the
Tango can be learned by holding the slow steps longer than regulation time
and then snapping the quick counts to catch up. Students generally find
this easy to understand when the teacher takes them by the hand and dances
with them counting 'slow-hold, slow-hold ... quick quick'. It is recommended
that this exercise not be overdone at the early stage of learning, otherwise
a jerky movement develops.
Footwork
Because Sakkie music is generally
played fast, most steps appear to be taken on the toes. Although there
is no hard and fast rule regarding Sakkie footwork, every learner would
do well to adopt the technique used in Two-step. But should a learner naturally
move smoothly and comfortably around the floor then don't bother about
footwork. The basic footwork in Sakkie is to pick up the foot and put it
in place.
Use Of Patterns
Sakkie may not be a technical dance
but the rules of the road should be obeyed, i.e. the man must navigate
his partner anti-clockwise around the floor throughout the dance. In the
Sakkie, use of patterns will be the examiner's main concern.
Correct Character
To dance the Sakkie like a Quickstep
is to make the Sakkie look ridiculous. This dance has a slight bounce on
each step plus a gentle left and right swaying action throughout. The swaying
movement is achieved by tilting the body slightly left when stepping with
the left foot and tilting right when stepping with the right foot - not
to be exaggerated.
Swing-Rock
Body Movement
Using the body rhythmically in the
Swing-Rock gives this dance more life, That is, when the first 1, 2, 3
counts of the basic are danced, the man tilts left and at the same time
turns the basic to the right. The girl tilts right as the first 1, 2, 3
are taken. Both the man and the lady can also lean slightly back on the
first rock count. When the man steps his first 1, 2, 3 counts and turning
right, his steps are a little bigger than the girl's because he is on the
outside of the turn. At this point the girl keeps her steps smaller because
she is on the inside of the turn. To continue the turn the man, on the
second 1, 2, 3 takes smaller steps and the girl increases her steps. They
must however straighten out the basic before launching into a variation.
Relaxed Knees
Because of the fast triple action
of the Swing-Rock, it is very important that the beginner relaxes the knees
and keeps them that way throughout the dance. This bending of the knees
at the start of the Swing-Rock and keeping them that way throughout, is
a marvellous remedy for eliminating the stiff bounce of the beginner. It
also makes the learner feel as though a giant step in his/her progress
has been made. In addition to the bending the knees, take the "rapid footwork"
test, i.e. you begin by doing the basic slowly then you gradually increase
the speed of your count until the you go wrong. Then repeat the "rapid
footwork" test a few times. This practice also helps you see what is really
wrong with the way you carry your weight.
Arm Styling:
Because Swing-Rock is a casual dance
its appearance can look very messy without arm styling. A basic rule for
the girl when being lead under the man's arm is to stylishly drop the left
arm behind her back as she goes under. This not only
looks neater but also gets the arm out of the man's way. Once under his
arm she neatly raises it to about shoulder height. The arm must never be
rigidly straight or overly bent in this open position.
The man drops and raises his right arm in the same manner as the girl does. The dropping of his arm, besides corresponding with the girls style, also serves to indicate his intentions. What's more the raising of the arm puts the hand for both the man and lady in the correct position for those variations that require both hands.
Common Faults
One of the biggest faults of the
Swing-rock beginner, is to plonk down onto the heel of the foot that takes
the first rock step of the basic. This dropping of the heel seriously interferes
with the dancer's carriage of the weight, turning actions and speed, because
it forces the weight back and down. More than that it looks very clumsy.
The easiest way to remedy this problem is to make sure you keep the heel
well off the floor on every rock step back.
The basic Swing-Rock is more comfortable to dance when angled slightly. That is, in stead of the couple facing each other directly, the man turns a fraction to the left and the lady a fraction to the right, in almost a side by side position.
Look UP! look CONFIDENT! Looking up throughout makes the world of difference to the appearance. The quickest method of correcting this is to use the studio's neck-brace.
Swing-rock is supposed to be a happy dance, so give us a smile. You want to know how to get your student to smile when dancing an exam? Say, 'don't smile', it works every time.
There is no way a man can lead swivel patterns in "jellyfish" hold. Steps such as the on-the-spot swivel, moving swivels, the Toe-heel swivel and Touch-step shuffle are held palm to palm and the couple must, in that position, lean against or resist each other with tension in the arms. The resistance will automatically create tension in the arms, which in turn will ensure the swivel is done on the spot and not all over the place.
Disco
Disco is on the social syllabus dance chart because it caters for those who are shy to dance on their own in public. All they need is a few basic movements and action such as hip, head and arm co-ordinations to give them a little confidence. What we as teachers of social dancing must not forget is that since the twist in the 50's, dancing apart has ruled the roost socially.
But what does the examiner expect? The examiner wants the entrant to dance the patterns listed in the chart, plus the hip and arm styles that go with these steps. How the entrant rhythmically interprets these patterns with individual styles is likely to award extra marks for the entrant's performance.
On the whole, disco dancing offers more in freedom of expression than it does in technical correctness. The student may ad lib or improvise, i.e. freeze, lag or double up actions to suit the composition of the music.
Co-Ordinations
Disco arm co-ordinations, although
very basic, give students excellent practise in getting their limbs together.
Unlike the other social dances where pattern are taught separately from
the styling, in disco it is very important to do both simultaneously or
as soon as possible. Once the student has a fairly good idea of the pattern,
introduce the arm style and exaggerate the actions. The secret of teaching
these arm co-ordinations, is to break the pattern down into parts. For
example, 'As you step to the side, straighten the knees and shoot both
arms forward. Let's do it together, ready go ... we are going to practise
just this part a few times, etc." Once the learner has mastered it, do
the next part and so on. The moment the step is understood, with all its
trimmings, give him/her the 'rapid co-ordination test.
Although there is no set order in which the disco patterns are danced, the teacher must accompany the student in the exams. A solo disco act by the student is permissible, provided he/she has the natural flair and ability to do a solo act.
Disco is the dance done mostly by social dancers, as a result, there is no real restriction to what may be done or may not be done. Footloose, Breakdance, Moshing or whatever fad dance might emerge as the 'latest' is categorised as Disco. Until, of course, the public accept a new name for the dance craze and we are very sure this craze is here to stay. Fad dances of the past may therefore be included in the routine.
Although our Swing-Rock can be danced to Disco music, its character is a little too light for the heavy throbbing beat of the Disco. The Boogie is the best alternative as a together dance for disco music.
Cha-Cha
The posture and hold for Cha-Cha applies to Rumba and Bossa-Nova as well.
To assume the correct posture in these Latin dances, both the man and lady lean slightly forward, that is, their shoulders are brought slightly forward in advance of their hips or in line with their toes. This stance is maintained throughout these dances to allow the hips natural freedom to move. By leaning back, as most beginners do, the weight is forced over the hips and this produces a stiff, stilted hip action that resembles a wooden Indian in action.
The firm hold is actually an intro to leading and following and this is how very good teachers present it, "John and Mary, what I'm about to teach you is the most important element in dancing. It is more important than step patterns, and it is more important than styling. Yes, I am going to teach you how to lead and follow" This very good teacher then goes on to show John and Mary the mechanics of the firm-hold posture. Once explained, takes Mary; holds her firmly; gets her to resist and walks forward a few steps and without stopping and without warning, goes backwards. Does the same with John and then lets them do it a few times together.
Basic Cha-Cha
Footwork
The weight of the body will automatically
be carried over the toes if the shoulders are brought forward as described
in the section on Posture and Hold. This leaning forward prevents the student
from dropping the weight on count two of back step of the basic. It also
adds speedy footwork.
To make sure the footwork is neat, the feet on the Cha-Cha count of the basic come together on the second Cha. Count one of the first and second half of the basic as well as the Cha-Cha count is stepped on the same straight line with the toes facing directly forward. A general rule for most Cha-Cha variations is that the feet on the Cha-Cha count, face partner. More mistakes are made in Cha-Cha variations because dancers turn too soon on the Cha-Cha count, than for any other reason.
Foot and
Arm Style for Crossover and Back Break in Cha-Cha
Count two of the crossover break
is stepped straight forward. The toes of the foot that takes the crossover
step on count two point in the same direction as the hand that holds or
is held by the partner on this count. The heel of the other foot is turned
in towards partner, forming a right angle with the crossover foot. The
knee of the crossover leg is straightened while the knee of the leg behind
the crossover foot is bent with the heel high off the floor.
When crossing over from the one side to the other, the man's hand is held over the lady's and the elbows on count two are slightly apart to form a V shape from hands to elbow. This avoids the cramped look one often see on this step.
The other arm (loose arm) is kept parallel to the floor with the hand and forearm creating a straight line. To give this loose arm a natural appearance, form a natural curve by bending the elbow slightly and relax the fingers; dropping the middle finger a little adds a natural finish to this arm style.
The knee of the front leg in all back breaks is straightened on count two and the heel of the front foot is raised slightly. When the man breaks back with his left foot, he lets go of the lady's right hand and open-styles the left arm.
Cuban style
(hip-sway action) for Cha-Cha, Rumba and Bossa-Nova
It is recommended that the Latin
Cuban hip styling be introduced in Rumba because of its slower tempo. The
degree of hip swinging in Cha-Cha however, is a subdued version of Rumba,
Mambo and Bossa-Nova Cuban style. The man should rather straighten and
flex the knees on each step with only a slight suggestion of hip action,
than attempt to wildly wag the hips from side to side; which men normally
feel embarrassed to do, any way. The same technique applies to girls except,
they should exaggerate the action.
Rumba
Weight
Stand with feet together and in time
to slow, quick, quick, slow, quick, quick rhythm swing the hips from left
to right on the spot. Do this by flexing each knee across the other alternately.
This should be done in front of a mirror and feel the movement in the hips,
and exaggerate. The shoulder should be kept very still while the hips sway
from side to side.
Once you have the feel of this action, place your weight over your left leg and straighten the left knee. The left knee must be locked backwards. In this position there is no weight over the right leg and the hip has swung to the left. Without weight on the right foot take a small step forward and hold it without weight in that position. Now transfer the weight over the right leg straightening the right knee and swinging the hip right. This process is repeated a few times and as you get the hang of it, step forward counting slow, quick, quick slow, quick, quick, etc.
Next, step without weight and move to the left side and together, left side and together, etc. then to the right side together, etc. At this point it must be stressed that the weight should not be transferred from the one leg to the other immediately, it must be held so that you can feel the 'without-weight' action. Finally, practise the Cuban motion going back.
Once all directions have been covered. with this choppy hip action, apply it to the Rumba box. The more advanced Cuban action requires less stepping without weight, and more hip swaying.
Turning the Rumba basic to the left is the preferred way to dance the box.
For the average learner, it is more practical to keep the steps small in the Rumba. Small meaning, the distance between the foot that has taken the step and the supporting foot should not be longer than a half a foot from the other. Where a student's footwork and technique is good, bigger steps will add more expression to the Rumba.
Bossa-Nova
On count four, as with count two, the hips are swung to the left and the right knee is bent across the left leg. This 4-count hip action is repeated on the back section of the basic and all variations. Bar counts, 8 to 11 of the side point, should be danced with this accentuated hip motion. A slight up and dawn movement may be used in Bossa-Nova but keeping the shoulders still is preferred.
Holding and emphasising counts one and three helps you feel the rhythm of the Bossa-Nova better, and gives more expression to the dance.
Bossa-Nova
hold
Finger-tip hold is used in Bossa-Nova,
i.e. the girl curls the fingers of her right hand over the index finger
of the man's left hand and the fingers of her left hand curls over the
index finger of the man's right hand. The open-arm style used in the Cha-Cha
and Rumba is also used in Bossa-Nova. Dropping the arm during underarm
movements also applies to Bossa-Nova as in Rumba .
The normal. Latin hold may also be used for Bossa Nova.
Samba
As count one of the basic Samba is taken with the left foot (man's part) push up off the right foot so that the heel of the right foot is lifted off the floor completely. The left foot on count one loops up and over and lands forward on the toe and down (knees bent). The right foot is brought up next to the left foot on count two in this knees-bent position. Now off the right foot, push up on count two by straightening the knees, then down on count three. Now repeat this samba motion doing the back part of the basic by pushing back off the left foot and looping count one of the right foot. The best way to understand and practise this technique is to jump over an ashtray every time you step count one of the basic. Or imagine you are skipping and every time you step count one that's when you jump over the rope.
Turning the basic slightly left also adds life to the dance.
Copacabana
Style
The copa action features very prominently
in Samba and this is how it is technically described.
Step forward with the left foot as though doing the man's part of the basic Samba. At the end of count one the knee of the left leg is slightly bent and stays that way as the right foot is slid back without weight on count two The left knee on count three is straightened as this foot is pulled back towards the right foot. This process is repeated, excepting that the right foot goes forward this time. The easiest way to master this copa action is to face the same way as your partner, holding around the waist and go through the motions counting ... step, slide, pull, step slide, pull, etc.
Compasso
style
In advanced Samba, compasso action
is the most popular. This style has no in-between; it either looks terrific
or the opposite of terrific. Here follows the mechanics:
Step forward with the left foot and place your weight over it, flat-footed. Now take a small step to the right side with the right foot, stepping on the toe as though the right foot is sore. With slight pressure (not weight) on the toe of the RF slide the LF passed the front of the RF. The count for this is 1 and 2. With the weight still over the front foot (LF) take a small step to the right side with the RF, again stepping on the toe of the RF as though sore, slide the LF passed the front of the RF counting, 'and 3'. Continue this sideways movement counting, and 4, and 5, and 6. Stop, and go the other way by first stepping forward with weight on the right foot and stepping the sore-foot action with the LF as you slide the RF passed the front of the LF for and, 3, and, 4, and, 5, and, 6.
What makes this style popular is the fact that it develops good body-lines for all the Latin dances.
Man's part:
Step LF forward, leading the girl
to the left side. Point RF to side relaxing right knee slightly and at
the same time tilt right shoulder towards the pointing foot. The girl steps
side with the RF and points with the LF while her left shoulder leans left
to form an X line with the man. The man then leads the girl to his right
side as he steps forward with his RF and points the left toe out. The girl
counterparts him to her right. Forming an X line with her right leg and
shoulder. Although the shoulder tilts towards the leg that points, the
weight of the body remains 75 degrees, over the supporting leg.
BOOGIE
Here we use the finger-tip hold as in Bossa-Nova because of many underarm variations
Knee And
Hip Action
Boogie is the one 'together' dance
where the couple is at liberty to express, by styling or rhythmic variation,
their individual feeling of the music. Beginners must be taught the basic
movements before attempting to let themselves go a little. On count one
of the basic, and this must be exaggerated, the knee is straightened while
the hip is thrust to the side or in the direction count one is taken. The
weight on count two is transferred onto the other foot, in heavy disco
style. The knee of the leg carrying the weight on count two is straightened,
while the other knee flexes. Count three and four of the basic are performed
in the same way as one and two. This Boogie knee and hip action can be
compared with the Rumba Cuban motion but in stead of stepping without weight
and a bent knee, as is done in Rumba, you step with weight and on a straight
knee. (See section on 'Body action' for the more advanced knee and hip
action in Boogie).
Arm Style
The loose-arm style used in Swing-Rock
can either be adopted or adapted here. Especially if you are a beginner
who doesn't know what to do with your loose arm. Avoid dangling the loose
arm like an orang-utan's or shooting out as stiff as a poker.
Experience has proved that learning to Boogie first, makes learning the Swing-Rock easier, whereas the reverse seems to confuse them.
Body Action
Because Boogie is a relaxed, free-and-easy
dance and because its timing is single rhythm, students and particularly
beginners, love it. Boogie makes most feel clever. The quickest way to
make beginners relax is to teach them Boogie. Once you have mastered the
basic step JUST LET YOUR BODY MOVE AND GROOVE - let the music take control.
Size Of Steps
To give the heavy disco beat of the
Boogie full expression, it is better to dance the steps on the biggish
size. Big, not meaning gigantic, just nice and comfortable.
Rock 'n Roll
Arm Style
Keeping the loose arm up does not
only look better, but also helps the dancer's balance in this fast dance.
What's more, having the loose arm up makes it easier for the man to grab
when wanting to lead variations.
Footwork
Here again because Rock 'n Roll is
such a fast dance, all steps must be stepped on the toes. There is no way
the Rock h Roll can be danced properly flat-footed. The kicks which take
place on every uneven count should also be kept small, in fact very much
smaller than is done by most.
Basic Movement
The basic action in the Rock h Roll
is carried through to 90% of all its variations done in the Rock h Roll.
Here's the man's part of the basic. The girl's action is the same except
she starts with her right foot.
On count one he kicks left foot out
to side (small step). On count two he brings the left foot together with
the right foot, jumping the feet together as he does so. The knees are
also bent as the feet come together on count
two. The action on counts three and
four are identical to counts one and two. This basic movement can cause
much grief for the learner if the jumps and the kicks are done at the same
time on count one. Kick step one as a loose kick, jump step two together
while bending the knees as the feet come together. You count this; kick
jump or better still, kick, stop, kick, stop. The problem starts when the
learner does not hold count two in the 'together' position before kicking
count three. This basic Rock 'n Roll action can be simply defined as; kick,
bend, kick bend, etc.
The body may either tilt slightly to the right when kicking with the left foot, and tilt to the left when kicking with the right foot while dancing the basic, or kept upright. The tilt action is preferred by the bee-bobbers. Whichever way you choose, make certain the weight of the body is forward over the toes for both gent and girl.
Rock h Roll is not only an exciting dance to dance but also terrific to watch. If done without kicking and jumping too high it's not as tiring as most think it to be. There is only one thing that despises Rock 'n Roll intensely, and that one thing is a cluster of calories - give your body a burn up... Rock 'n Roll.
DANCE HOGGING on a social dance floor, is the uncouth ability of the leader to use his partner as a ramrod to burrow his way through the crowds without considering how many bodies he has left lying around (see etiquette or dance Etiquette).
DANCE IMAGE: A sequence of movements which together form a memorable passage of choreography, and which choreographers use for expressive purposes (see character of the dances).
DANCE HOLD: (see posture and Hold)
DANCE SKILLS describes judging, demonstrating or competing in any dance form.
DANCE SPORT: The official name given to the sport of competitive Ballroom and Latin-American Amateur and Professional Dancing. In the United States DancdSport describes any and all forms of dance commonly referred to as 'Ballroom Dancing' or Internationally as 'Dance Sport' (e.g.: American Rhythm, American Smooth, International Latin, International Standard, Theatre Arts, West Coast Swing, New Vogue, Rock 'n Roll, Old Time, Sequence and others which may come into vogue).
DanceSport –
A Gentle
Art
DanceSport is the new term for competitive
ballroom dancing. Blending gracious style, pure athleticism and exhilarating
showmanship in one magical package. It demonstrates the fusion of entertainment
and sport.
DanceSport combines the elements
of music, art and athletic endeavour. The combination of aesthetics, elegance
and technical ability results in a performance, which appears harmonious
and effortless, yet requiring the ultimate levels of physical control and
stamina. DanceSport has been given full recognition by the International
Olympic Committee and may become part of the 2008 Summer Olympic Games.
DANCE STUDIO (SCHOOL) is the establishment or premises in which dance lessons are taught. The basic essentials of a dance studio are:
DEMONSTRATION refers to the Exhibition or Teaching of any form of dance with the aim to illustrate its correct character, technique, rhythm and style.
DERBY/SWEEPSTAKES/FESTIVAL in social dance schools is a month of special fancy-dress parties and outings with prizes and surprises. These functions are held once or twice a year to promote business for the studio while creating fun and opportunity for their pupils.
Their teachers and pupils earn points when pupils enrol for lessons; enrol their friends as guests, pay for lessons, attend lessons and the special fun parties. The top-scoring teachers earn bonuses and the top-scoring pupils receive free lessons.
DETERMINATION is a dancer's dynamic SELF-WILL to strive to WIN, regardless of the obstacles that may arise.
DEVELOPMENT PROGRAMME: This programme was instituted to assist all disadvantaged dancers of the apartheid era with free tuition or subsidised tuition fees, and suitable or convenient studio facilities to learn and practise in.
DEVELOPPÉ (Dev-Lo-Pay): An action whereby the free foot is drawn up to the knee of the supporting leg, and then extended (or 'developed') until the leg is completely straight.
DEVELOPPÉ ('developed'): A movement in which the working leg is drawn up to the knee of the supporting leg and from there smoothly extended out to a position in the air, usually at 90 degrees (i.e. parallel to the floor).
DEVELOPPÉ (Freestyle): To unfold either leg in any direction while standing on the other foot.
DIAGONAL: 45 degrees out from the centre of the Line of Dance (direction).
DIAGONAL MOVEMENT: Movement which is simultaneously lateral (sideways) and progressive (forward/back) i.e. a side and forward or side and back movement.
DIG: To strongly touch the floor with the ball or heel of the free foot.
DIRECTING A TURN: Moving the body toward a specific direction while turning.
DIRECTION (Freestyle): This refers to the movement of the dancer or dancers around the floor and is normally anti-clockwise.
DIRECTIONAL MOVEMENT: Movement toward a specific direction (as opposed to rotational movement). Three types of directional movement are, Lateral (side), Progressive and Diagonal.
DISCO DANCING: Disco dancing became the natural sequel to the Twist in the late 1960s. It started as a cage dance at the Discotheques. To the heart-throb beat of those times, a pretty lassie would gyrate and jig in her cage. Her cage was suspended from the ceiling over the dance floor of the discotheque. The customers, who were packed on the dance floor, would imitate her actions without holding their partner.
What made Disco so popular is that the male could wag and wiggle his body or interpret the music as he felt fit, while his partner did her own thing in front of him, around him or even joined the couple next door. This gave both ample opportunity to express their inner feelings for the music, without having to synchronise with each other. Of all the fad dances that have come and gone, Disco was still going strong 30 years later.
DISQUALIFICATION: A non-voting Chairman of the Board of Adjudicators must be appointed. He/she, or his/her designated representative, must attend the official rehearsal that is held in the competition facility and warn any team infringing the rules. If the rules are infringed during the competitive event, he will have the right to disqualify formation teams that infringe upon these rules, after consultation with the adjudicators and the Competition Organiser.
A DNS is regarded as a sign of disrespect for the tutor, "did not have the decency to phone and cancel".
Social schools which rate the popularity of their teachers by adding and deducting points, deduct many points from a teacher's score for DNS lessons.
DRAW, DRAG or SLIDE: To bring the free foot slowly together to the weighted or supporting foot.
DRESS: The appearance of a couple will obviously be enhanced if the lady has an attractive dress. It can just as obviously be ruined if the man is badly dressed. A really good evening dress suit is very difficult to make and the competition dancer would be advised to seek the advice of an expert before ordering a suit for dancing. When doing so for the Ballroom dances, watch out for the following:
When the arms are raised the coat should not lift from the shoulders. A good shoulder line is essential and it should be possible to see at least half an inch of the white shirt collar even when the arms are raised. A coat that lifts and covers the white collar gives an appearance of raised shoulders. It is equally important that at least an inch of white cuff should be seen.
The sleeves of the coat should be narrow to give a smart arm line, and a narrow sleeve will grip the white cuff of the shirt and keep it in the same position at all times. The coat 'tails' should reach to the top of the calf. Tails that are too short look rather silly; when too long, they look untidy and spoil the line.
One of the worst faults is to wear the trousers too short or too narrow. When standing normally the trouser leg should reach to the heel of the shoe. It is inevitable that when dancing some figures it may tend to touch the floor, but that is far better than having a short trouser leg that rises almost to the ankles when a long step is taken. The normal width for the trouser leg is about 48 cm. If they are worn too narrow they give a man the appearance of dancing with bent knees. If worn too wide they look clumsy.
Dress fashions for ladies alter so much that it would be unwise to make too many comments. Pastel shades and soft material that flows will almost always be suitable. Ladies with narrow or round shoulders should wear a dress that covers the shoulders without giving a puffed or hunched appearance. It will present a better and broader line.
Ladies with a long neck are advised to wear the hair long; those with a short neck should have it dressed high.
DRESS CODE is the appropriate dress worn at dance competitions and examinations.
Dress Code Regulations for 2001
FEDANSA Gauteng PAB will be enforcing these regulations at all competitions in the province. We feel that failure to meet these regulations flowers the tone of competitions and jeaperdises the good image of our sport. Should a competitor not adhere to the dress code he/she will render himself/herself liable for immediate disqualification. Any queries may be addressed to a FEDANSA dress code official at competitions or to Avril Bennett Tel: 916 3371.
Medal sections:
Males:
Black pants
Black shoes
Black socks
White school shirt – no wingtip collar
or dress shirt
Bow tie – black in colour of may
match girl for Latin
No jewellery
Females:
Leotard and circular or wrap skirt
Day dress with an even hem – no frills
or trim
Suitable dancing shoes – juvenile
block or honey heel only
Skirt to be no shorter than 6 cm
above knee cap
Not allowed:
Any sequins, glitter or frills
Straps other than on back to hold
dress in place
Cut-outs or see-through sections
Leotards with g-strings
Poor grooming e.g.: loose,
untidy hair
Jewellery
Open sections:
Males:
Latin – this is left to personal
choice
Ballroom – males 19 years & older
must wear full black or navy tail suit attire with a white bow tie and
shirt. Males in the youth section may wear a black waistcoat in place
of a tailcoat & black bow tie. Boys 15 years & younger to
wear a black waistcoat & black bow tie.
Females:
This is left to your own personal
choice but
No g-strings allowed
Bust line to be secure & not
see through
Dress Code in general
JUVENILE (PRE-TEENS):
All dance styles and proficiency
categories.
The most important, yet most neglected item, as far as exam attire is concerned, is the correct footwear. If we were to dance on our hands then it would matter little what we wore on our feet, but since our feet move our smartly dressed body around the floor, special attention should be given to this area. Yet girls have danced their exams in high platform shoes; in flat shoes and even strapless open-heel shoes. Gents have come spruced to the hilt and trudge ponderously through the dance in rubber-soled shoes.
DRESSING refers to the precise lines and rows created by a formation team of dancers.
DROP: A movement in which the lady's body weight becomes partially or completely supported by the man, while at least one part of her body remains in contact with the floor.
DROP or HITCH KICK (Freestyle): With weight on right foot, a drop into the left leg with flexing of the knee and simultaneously kicking of the right leg into a front high kick. May start with the left foot.
DYNAMICS: Changes in the various qualities of dancing, such as speed, height, mood and intensity.
