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Author Topic: Make suggestions to you pro about Choreography  (Read 4179 times)
elisedance
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« Reply #30 on: May 04, 2010, 02:01:10 PM »

How so hideous?  Difficult to do or you think it will look awful?
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SwingWaltz
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« Reply #31 on: May 04, 2010, 06:37:34 PM »

How so hideous?  Difficult to do or you think it will look awful?

Look awful!
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elisedance
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« Reply #32 on: May 04, 2010, 07:44:11 PM »

I go by if it feels good.  I figure that if thats the case then it must flow and look good too....
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samina
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« Reply #33 on: May 08, 2010, 12:30:48 PM »

The other day I told my coach the choreography she gave us was hideous. She said it's only hideous cause I suck at it. Touche!

luv it... lolz.

i generally loved my instructor's choreo. if there was something i saw that i liked, i'd say so... he was flexible. if there was something i disliked, mostly that was an opportunity to learn how to do it better. meh... we had good synery. i was happy to allow him to have his choreographical fun because he was so good at it and i knew zip. Smiley
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QPO
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« Reply #34 on: May 09, 2010, 12:49:36 AM »

well I am sure that is possible that you are not that good at it yet SW but sometimes I wonder if the right things are put together and when you are knew then you don't always know and di ti even if it does not really work together.

We have changed a couple of things in our routine but I am more confident to say I don't want to do something in the NV styling rather than standard. I sometimes find that people at the same studio use the same arm styling and you can work out where they were trained on the dance floor Roll Eyes and I like to be different Tongue
« Last Edit: May 09, 2010, 03:31:54 AM by QPO » Logged

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SwingWaltz
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« Reply #35 on: May 09, 2010, 01:33:44 AM »

True that! Somethings just take a bit longer to get it right. I think it'll look pretty awesome once we get more practise.  Smiley
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QPO
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« Reply #36 on: May 09, 2010, 03:32:18 AM »

True that! Somethings just take a bit longer to get it right. I think it'll look pretty awesome once we get more practise.  Smiley

I love your dancing!
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Lioness
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« Reply #37 on: May 09, 2010, 05:21:01 AM »

I think arm movements definitely need to be individual. In NV sometimes there are three or more couples on the floor with the same arm movements, and it doen't look original at all. Worse is when there is a whole block of medallist kids who have been taught to dance exactly the same way, and they all look like clones (Yes, I have one particular group of people in mind here).
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elisedance
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« Reply #38 on: May 09, 2010, 05:28:28 AM »

But OTOH isn't that consistent with the whole idea of the dance form?  I mean one could say the same about the steps...
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QPO
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« Reply #39 on: May 09, 2010, 06:05:22 AM »

yes.. I understand that...it can have some interpretation in the arms but there are still things that they must do. They are about to have a fourm to discuss whether it should change or stay the same...and arm styling is at the forefront of this discussion.
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cornutt
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« Reply #40 on: May 09, 2010, 11:16:01 PM »

My instructor and I are currently designing the choreography for a showcase routine.  Doing choreo together is something we haven't done before, and I don't much experience doing choreo.  Last year, I did a routine with another instructor where she encouraged me to add some ideas, but the basic routine was something she already had (she had designed it for another student).  So this is new.  Last week was the first week where we really got down to it and started putting together pieces.  It went well, actually a bit better than I thought it would; we seemed to both be thinking along the same lines. 
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elisedance
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« Reply #41 on: May 10, 2010, 05:16:46 AM »

Isn't it fun trying to get from A to B without doing something totally irrational? 
We have one point in our routine where we were stuck trying to get from a PP position to closed in a few steps (as in feet movements) because we were at the end of the side.  We fixed it by not going into PP at all (doing a closed and not the obvious open impetus) - a move I originally saw on a Mirko and Alessia tape (wish I could find it Undecided).  It allows me lots of dance'elasticity'.  Our coaches had never seen it before and are not convinced but its one I love so much I don't think I'm going to let them take it out. 
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cornutt
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« Reply #42 on: May 10, 2010, 02:53:55 PM »

Isn't it fun trying to get from A to B without doing something totally irrational? 

Especially when you aren't quite sure where B actually is...  Grin

Quote
We have one point in our routine where we were stuck trying to get from a PP position to closed in a few steps (as in feet movements) because we were at the end of the side.  We fixed it by not going into PP at all (doing a closed and not the obvious open impetus) - a move I originally saw on a Mirko and Alessia tape (wish I could find it Undecided).  It allows me lots of dance'elasticity'.  Our coaches had never seen it before and are not convinced but its one I love so much I don't think I'm going to let them take it out. 

That's very cool.  And it's the sort of thing that's extremely useful when you are putting together comp choreo that you want to be able to use at different venues, because you can stick it in almost anywhere that you need a corner.  And that helps with adapting to odd size floors.  I danced in a place in Dallas once that had a raised spectator area that intruded into one corner of the floor; it made the four sides all different lengths, and the short side at that end was just barely enough for a respectable open right turn.  I recall wondering how I'd go about putting together a comp routine for that room...   Shocked
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elisedance
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« Reply #43 on: May 10, 2010, 04:44:49 PM »


That's very cool.  And it's the sort of thing that's extremely useful when you are putting together comp choreo that you want to be able to use at different venues, because you can stick it in almost anywhere that you need a corner.  And that helps with adapting to odd size floors.  I danced in a place in Dallas once that had a raised spectator area that intruded into one corner of the floor; it made the four sides all different lengths, and the short side at that end was just barely enough for a respectable open right turn.  I recall wondering how I'd go about putting together a comp routine for that room...   Shocked

Wouldn't that be neat for a comp - where they chalk out a bizarre shape on the floor and you have to stay in the lines?  Wouldn't that separate the dancers from teh robots...
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If you must leave the house, go build a home...

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dlgodud
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« Reply #44 on: May 25, 2010, 04:43:38 PM »

The other day I told my coach the choreography she gave us was hideous. She said it's only hideous cause I suck at it. Touche!

Maybe your coach is right as much as you might be right about your choreography.
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