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 on: June 30, 2015, 02:51:13 AM 
Started by pinkstuff - Last post by sandralw
Well.. here's an interesting turn of events... I'd love to hear opinions on...

I'm not allowed to dance (competitively speaking) for a while due to a foot injury.  My husband and I were planning to compete in Pro/Am, but now I'm looking for an Amateur lady for him to dance Am/Am events.  He is quite good and does both Ballroom & Latin (not all dances are created equal - unfortunately  Wink).

We have our own floor in our home and I am willing to train her and them as a couple and also have access to world level coaching. He has just turned 71 and stands 5'11"

What a fabulous opportunity you say?  Absolutely... and not one taker so far...

Ladies are always complaining about the lack of men partners, but when a better than perfect opportunity arises they all disappear.  I just do not understand it.  I would have KILLED for an Amateur partner back in the day...

Anyone want to weigh in?

 on: June 30, 2015, 02:43:15 AM 
Started by elisedance - Last post by sandralw
When I was competing I used to specifically speak out coaching from couples who were having the same issues I was... the Lady being much smaller in height and stature than her Gentleman partner.  I always got brilliant information on how to appear to be larger and be "seen" from Helle Loft Jensen as she and Bo were just about the same relationship as I was with my partner.  I found that there were chorographic tricks that could come into play as well as to move in a very positive manner.  But, in the end it still comes down to good dancing.

 on: June 30, 2015, 02:28:32 AM 
Started by phoenix13 - Last post by sandralw
Be a child! Study children! Pay attention!


SO true!  They are the most natural before they have "learned" and begun to mimic those around them with all of the bad habits in place.


Study a cat... especially when they are stalking prey... great for Tango.


The Meerkat... who are in perfect balance and alignment... Perfect Alexander Technique with head lifted forward and up, off the spine and their body hanging in perfect alignment below.  It is what I saw every time I looked at Bill Irvine. 

 on: June 30, 2015, 02:18:11 AM 
Started by elisedance - Last post by sandralw
Sorry it's been a while... I've been really slammed, but I haven't forgotten the discussion about falling in waltz... I can't say that there is a definitive place in the mechanics of the dance it's where the fall really "STOPS" as it is incorporated into the "sway" action.  It can be said that it would stop when the leg that is being extended and about to become the newly engaged foot and leg makes full contact with the floor and the rise commences as the drawing in of the new few leg and foot occurs. 

I know this sounds a bit weird, but it actually is easier to dance than to explain.  Wink

 on: June 28, 2015, 05:39:05 PM 
Started by Some guy - Last post by Dora-Satya Veda
I would say that floorcraft is not possible without the points that Anthony Hurley pointed out.  In number 3 on his list of necessity of weight connection with your partner which is a totally lost art as well. 

Too many of the basic principles are lost today for floorcraft to be part of it. It is a shame however a fact.

I have danced with Anthony Hurley many times and he is amazing at navigating around others on the floor. When I would take lessons with him he were often having to navigate around Peter Eggleton and the couple he was teaching. Plus there were also several latin couples in the studio.

If couples would learn each their jobs floorcraft would be very easy and simple to master...


 on: June 28, 2015, 05:27:31 PM 
Started by MrsMoose - Last post by Dora-Satya Veda
Very correct Some Guy.

Heel turns should just happen with not thought at all. However there are not many men that are taught the actions they need to do to cause the heel turn to happen naturally for the lady.

First remember this is a heel turn not a heels turn. The lady should turn on one heel not two heels. One heel should be turning however not more than 1/4 of a turn and the weight should be on the heel only enough to let the front of the off the floor barely enough to turn. The other heel should be doing a heel pull action and should not close till the turn of the standing heel is complete.

My teacher taught me a heel turn exercise that I had to do every morning. He called the it the "pineapple". The heel pull action would create the look the fruit of a pineapple on the linseed oiled floor and the heel turn itself would create the look of the pineapple top. This exercise is often taught in the Body School when they are teaching the International Standard.


 on: June 28, 2015, 05:11:00 PM 
Started by elisedance - Last post by Dora-Satya Veda
If the question is to the term "fall" in the technique book (ISTD book) then the fall is completed with you hit full division or (IDTA's "Down") before the foot flip or just before the end of 1


 on: June 28, 2015, 05:01:41 PM 
Started by elisedance - Last post by Dora-Satya Veda
My teacher used to say that if you focus on one or the other side you become crooked. The body should be focused on as a whole. Now the man or the woman may feel one or the other side however that is not actually where the focus should be. If you focus on a side that side will "address" the partner and now the partner will not feel the side.

Be careful with what is the fact, the focus and the illusion. They are 3 totally different things.


 on: June 28, 2015, 04:53:39 PM 
Started by phoenix13 - Last post by Dora-Satya Veda
Be a child! Study children! Pay attention!


 on: June 28, 2015, 04:51:00 PM 
Started by elisedance - Last post by Dora-Satya Veda
Wow, I wouldn't have been able to take one step if I had had to think of all those points.

Dancing and teaching are 2 very different ways of thinking.

However as a great coach/teacher of dancing it is your job to help the student dance well and not to teach them how to pass a written exam.

It is a great way to keep the student from getting good by given them so much information that they can't dance.

My teacher said that in his system there are 20 basic rules... 15 of them are directly linked to dancing. One the 3rd level there are more then 400 rules and on the 6th level there are more then 8000 rules. Most great dancers are not consciously away of all 20 basic rules let alone the 400+ on the 3rd level. They have no clue that there are more than 8000 on the 6th level even if they are doing some of them.

I my opinion a great teaching system of dance is a system that make people dance well. A system where they know a lot but can't dance is not really a dance system in my view.


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