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 71 
 on: June 21, 2014, 01:11:51 PM 
Started by phoenix13 - Last post by elisedance
You can also meet a cute chick (er, or cockrell...) Grin

 72 
 on: June 19, 2014, 02:29:17 PM 
Started by elisedance - Last post by Some guy
There's a huge difference between consciously knowing and unconsciously knowing.  Most champions were unconscious competents before they had to teach, and hence, had to know.  Unfortunately, they impart the knowledge backwards, and their students usually don't come anywhere close to their level of competence.  

Knowing the different "positions and contact points" makes a tremendous difference, ask Mirko and Edita, as QPO noticed they certainly think it is important.  So does Luca, Johnathan and Ieva Pauksana who are the sources where I originally started to learn body mechanics.  

Ah, none of them are Body Schoolers, so that makes sense that their approach is polar-opposite to where my response was coming from.  

When you are learning, especailly teaching someone to go into promenade to show and know that the girl is behind the man's right hip connecting at her inside left hip is not useful information?  That the lady is behind the man's hip being the "contact" and they form a shallow V creating a "promenade position" is not worth mentioning or knowing?  It's okay that they come out hip to hip and both facing square on to LOD, which, due to lack of information happens in most cases?
In locks or any outside partner position you would not want to know or show where the man and woman contact each other or is it okay for them to be hip to hip and being flat because knowing where the connection is, is not useful?

Everything you’re describing is the end result and not the action required to create the end result. I might agree that it’s useful for the teacher to know, but why would the student need to know unless the student is planning to teach very soon?  Learning how to do and learning how to teach are two very separate things.  The teacher would need to know the end result so that the student can be evaluated and corrections can be made to the student’s actions if necessary.  

Same foot lunge or contra checks is it okay for the girl to be overturned away from the guy or the guy to be overturned because knowing where they contact and knowing the position is not worth knowing?

More results, not the actions necessary to create the proper end result.  If the student knows the actions necessary to create the end result, the end result will always be correct, the student need not know any details about the end result.  A good result is something that happens when the actions are done correctly.  All the student needs to know is the execution.  

 73 
 on: June 19, 2014, 06:50:47 AM 
Started by QPO - Last post by elisedance
You can see how the judges might not see eye to eye Shocked

 74 
 on: June 19, 2014, 06:50:08 AM 
Started by elisedance - Last post by elisedance
Perhaps the difference is in how you approach dance?  Some people like a very technical approach that helps them train each part of their body.  Others - obviously like me and SG - like to just let those things train themselves as much as possible (I add the latter because there are stylistic things in all performance types that must be learned - hand shaping visual frame etc.  But for me dancing learning these has always been an extra chore and not a part of how I dance...

 75 
 on: June 19, 2014, 04:47:20 AM 
Started by elisedance - Last post by Rugby
When you are learning, especailly teaching someone to go into promenade to show and know that the girl is behind the man's right hip connecting at her inside left hip is not useful information?  That the lady is behind the man's hip being the "contact" and they form a shallow V creating a "promenade position" is not worth mentioning or knowing?  It's okay that they come out hip to hip and both facing square on to LOD, which, due to lack of information happens in most cases?

In locks or any outside partner position you would not want to know or show where the man and woman contact each other or is it okay for them to be hip to hip and being flat because knowing where the connection is, is not useful?

Same foot lunge or contra checks is it okay for the girl to be overturned away from the guy or the guy to be overturned because knowing where they contact and knowing the position is not worth knowing?

Knowing the different "positions and contact points" makes a tremendous difference, ask Mirko and Edita, as QPO noticed they certainly think it is important.  So does Luca, Johnathan and Ieva Pauksana who are the sources where I originally started to learn body mechanics.  Shirley Ballas menioned how shocked she was at how few teachers really knew the body mechanics and positions in Latin.  She wondered how they could achieve good results without knowing this.  I am sure she would say that this applies to Standard as well.
If I just want drive a car around town I would not care about the details but if I wanted to become a racecar driver you can bet I would want to know how my car worked, not just that it worked.   When I competed in Dressage with the horses I learned to be a rider and a trainer though I had to train ten hours a day for many years.  Most thought it was not that important until the National body called me to be a Protege to help get to the Olympics and not them.  If I just want to social dance around the floor then I may not care about these things either but if you want to compete or teach, especially competitiors then it is vital. just as much of what DSV has told us would be.

 76 
 on: June 19, 2014, 04:34:10 AM 
Started by QPO - Last post by Rugby
Yes, I have noticed this too.

 77 
 on: June 14, 2014, 05:48:34 PM 
Started by phoenix13 - Last post by Some guy
Tru dat!   Cheesy

 78 
 on: June 14, 2014, 02:56:24 PM 
Started by phoenix13 - Last post by elisedance
True: depends on your goal.  Unfortuantely, you can get a worse education and yet do better because you paid to get into the 'elite'.  The English school system was like that - a poor student at a 'public school '(that's private here) would often get the nod over a much stronger one from a state school.  Of course that happens everywhere but there it was built into the system and wasn't even thought of as wrong. 

Dance is at least to a large extent its own filter - you have to be able to dance well to succeed.  Yet, there are mentor lines and school systems here too where a follower of a particular style of dance will do well within one community even if they were really not as good as a competitor from a different lineage.

But all that is really beyond the topic here which is really about the other end, getting started as apart from competing in Blackpool.  With education there are lots of resources to help you spend wisely but with dance its the opposite, there are a lot of charlatans trying to help you spend stupidly and without 20:20 hind vision its very hard to spot them.

 79 
 on: June 14, 2014, 02:50:35 PM 
Started by QPO - Last post by elisedance
WDCF it seems the emphasis is more on athletic and less on elegance and the WDC the other way round - at least in standard.

 80 
 on: June 14, 2014, 11:15:38 AM 
Started by phoenix13 - Last post by Some guy
we use social dance as our stamina training. as we know most of the NV  dancers and the songs they play re for three minutes, we maintain shape and styling for that duration, where as on the comp floor  most of the time it is a1.20 and max 2.00.

We always have a cardiac bracket which is VW, tango and quickstep one after the other for three minutes that will do it and we do that twice during the evening. Trying to dance very dance with quality is the best stamina training you can have.
I agree, I think the social dance is a terrific opportunity to practice a lot of things for competition, including endurance.  Like QPO said, each dance is usually played much longer and with all the other couples on the floor, floor craft and endurance can both be checked off. Social dancing, used together with rounds training, can eliminate physical and mental endurance issues.

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