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 61 
 on: July 21, 2014, 04:10:55 PM 
Started by elisedance - Last post by Some guy
I think the pendulum (or swing set) is a perfect example of a consecutive "falls" linking together via smooth transitions.  As to whether it happens to "three", that's illusive, because at point of the three are we talking about?  The "T", the "H", the "R", or one of the "E"s?  I think it's safest to let the music decide.  The additional layer of a count can impede musicality significantly. 

 62 
 on: July 21, 2014, 04:08:12 PM 
Started by elisedance - Last post by Some guy
I'm a firm believer in form following function, especially as it relates to ballroom dancing.  So while side is an observed phenomenon, I believe it's a direct result of the correct actions required to allow the proper functions.  As such, form becomes a result, and more importantly, an illusion, and of course you know that talking to a Body Schooler about result (as opposed to actions necessary to obtain the result) is a complete waste of time.   Roll Eyes

 63 
 on: July 21, 2014, 04:02:42 PM 
Started by Some guy - Last post by Some guy
it still takes a second role to the experience of ballroom dance, one that I can't get anywhere else.  That experience is not just moving across the floor together in physical harmony but doing so in emotional harmony too.  That's the part that seems elusive.  Where are the dancers for whom its dance that's #1 and winning #2?  If you have that you are winners in every comp regardless of your placeent.  

But I end up realizing that I'm being danced with out of duty not desire.  I want the lead that feels a thrill when I follow a step sequence and generate a resulting dance-expression.  I think you understand.  I want a lead that loves to dance with me.

Music to my ears EE. Music to my ears...

 64 
 on: July 21, 2014, 02:35:15 PM 
Started by phoenix13 - Last post by elisedance
Unless, of course, the room is so crowded you can't move... Smiley

 65 
 on: July 21, 2014, 08:16:54 AM 
Started by Burgess Penguin - Last post by QPO
I don't know if I could spin that much.....Tongue

 66 
 on: July 21, 2014, 08:00:28 AM 
Started by phoenix13 - Last post by QPO
We went soical dancing on Saturday night and  some tunes being played were early four minutes long. Great for Stamina if you can maintain all aspect of your routine for that duration. makes 1.30 easy peazy Grin

 67 
 on: July 21, 2014, 07:58:27 AM 
Started by elisedance - Last post by QPO
To answer the original question as to when the fall stops, I would say each bar is a fall. Use gravity to take you through each bar.

does not the fall end at the end of three? but there should be a smooth transition to create ebb and flow.

 68 
 on: July 21, 2014, 07:52:22 AM 
Started by elisedance - Last post by QPO
I wonder then if using the space that man creates on his right side more than his side.. I find that if I stay to the right and the man shapes that it feels more fluid, rather than staying in front of the man it becomes more labored.

I have found that our dancing is developing more freedom. It is a bit like acting, there has to be an element of trust and letting go.

 69 
 on: July 21, 2014, 06:23:06 AM 
Started by phoenix13 - Last post by elisedance
Refreshing after FB isn't it!  And what you say on PDO stays on PDO Tongue Tongue

Wait, maybe I can make a buck by selling your posting frequency to Monsanto?  OK, maybe not....

 70 
 on: July 21, 2014, 06:13:29 AM 
Started by Some guy - Last post by elisedance
What can I say? Yes.  I guess that covers it!

The first time I came to dancesport I had three serious partners, one of which was my spouse.  And you are right being married does not make much difference!  the other two were great experience but ended with abrupt depatures to 'move up', with not much mutual commitment there either.  And I think that highlights the problem: the main motivation for people who do dancesport is winning.  If that's so then dancing is just a means to that end and you have to position yourself so that you are 'best'.  I think I am a very competitive person by nature and winning was important for me - but it still takes a second role to the experience of ballroom dance, one that I can't get anywhere else.  That experience is not just moving across the floor together in physical harmony but doing so in emotional harmony too.  That's the part that seems elusive.  Where are the dancers for whom its dance that's #1 and winning #2?  If you have that you are winners in every comp regardless of your placeent.  Actually, I believe that it affects judges - at least the ones that count - when they see a couple that dances with real and not affected affection.

As far as Pros go I have had two really nice ones that are excellent dancers.  They give but only within the pro-am structure - that's not wrong, its just how it is.  But I end up realizing that I'm being danced with out of duty not desire.  I want the lead that feels a thrill when I follow a step sequence and generate a resulting dance-expression.  I think you understand.  I want a lead that loves to dance with me.

I wish there was  an alternative to dancesport to get top dancing - somewhere where the motivation is just that.  It may sound strange but that's exactly how it is in chamber music.  Four of us get together to play a Mozart quartet - and we play our hearts out with the single motivation of making music, harmonious music, together.  After we have tea and go home sated, each of us thrilled not only to have played but to have experienced the collective output. 

There, I want chamber-ballroom, not dancesport at all.

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