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Author Topic: Creativity in New Vogue  (Read 2286 times)
QPO
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Adelaide South Australia


« Reply #15 on: May 14, 2009, 01:52:55 AM »

yes...but you have to feel condfident in the executiion of the dance to be able to do the later and I look forward to that.... Cheesy
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ZPomeroy
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Victoria, Australia


« Reply #16 on: May 21, 2009, 08:31:58 AM »

does anyone know of any interesting creative movements in the LaBomba

Zac
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Dance is poetry written for the feet, read by the heart, and destined for the soul.
QPO
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Adelaide South Australia


« Reply #17 on: May 21, 2009, 11:51:54 PM »

Oh I am not sure what you are allowed to do in the lower levels. I am just learning the dance (how to do it properly) so you may need to check with your techer about what you still must do. Waltzelf posted a version lf La Bomba. I can check my Russ Hesketh book when i get home to see what is allowed.
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QPO
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Posts: 20848


Adelaide South Australia


« Reply #18 on: May 22, 2009, 09:40:38 PM »

Ok I have checked the book, it states Competition Performance Restrictions. Relative to competitions and championships, competitors in  Adult/Youth/Masters 1 & 2 level 4 and lower evens and ALL Grades of Junior and Juvenile events must adhere to the olds as printed in the publications accepted by DSA.

So it would be best to get that publication and in conjunction with your coach decide what is acceptable.
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waltzelf
Intermediate Bronze

Posts: 200


« Reply #19 on: May 26, 2009, 01:24:13 AM »

does anyone know of any interesting creative movements in the LaBomba

Zac


None of this is restricted enough for the judges to disqualify us for it, and people seem to enjoy our performance of the La Bomba: http://www.youtube.com/watch?v=XUvPzgy1SzM


We push the boundaries at times, but most of the time, pushing (rather than breaking) is ok. Depends how brave you and your partner are.



Honestly? Ignore the book. The book is too restrictive. You're much better off finding a happy balance between doing what is book says, and what you can get away with. There's no point following the book to the T if the judges are just going to ignore you because everyone else around you is being more creative (without breaking the rules)
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QPO
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Adelaide South Australia


« Reply #20 on: May 26, 2009, 07:33:37 AM »

I will leave that to Mummsie for her return. I would have thought lower levels have to follow the book for hand holds etc. which would limit the use of creativity. In the end you need to consult your coach, what is acceptable
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waltzelf
Intermediate Bronze

Posts: 200


« Reply #21 on: May 26, 2009, 07:49:00 PM »

I will leave that to Mummsie for her return. I would have thought lower levels have to follow the book for hand holds etc. which would limit the use of creativity. In the end you need to consult your coach, what is acceptable

We don't - I don't even own the book and have never read it. I've never been disqualified in New Vogue.

It's about understanding what you can and can't do. Blatant breaking of the rules is not on. Pushing the boundaries is a winning tactic, since the judges appreciate creativity.

For instance - in La Bomba, after the separation and on the roll back in, the man is meant to let go of the lady's left hand. We don't do that in most cases (though we play it safe at the odd competition when we know there's a traditionalist judge on the panel). The reason we don't is because it creates the illusion that the lady's arm has been twisted and pinned behind her back (though in reality it isn't remotely uncomfortable for her), furthering the dominance/submission storyline we're creating through the dance.

That's a bending of the rules, and we're well aware of it (the other problem is that we're not in proper tango hold for the lunge shape at the end of the roll in), but it's subtle, and if a judge does find it objectional, so far they've let it go.
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QPO
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Continental Champion
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Posts: 20848


Adelaide South Australia


« Reply #22 on: May 27, 2009, 08:31:00 AM »

Well that may be so, and that comes with experience, we are trying to make sure that we do the right thing, so we elevate out of level 1. We are only going to be doing our 3rd comp in a weeks time. So will see how it goes then, it will be our first interstate one.
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ahowlett1
Intermediate Bronze

Posts: 50


« Reply #23 on: June 03, 2009, 06:43:17 PM »

Level 1, 2, 3, 4 Competitors are required to adhere to the holds as given in the technique books at all times. If you are not sure about these, ask your teacher or buy the books yourself. Judges do not take lightly to people trying to be 'clever' at these levels. The rules are very clear on these matters. If you alter or relax hold below level 5.

Just because you have not been disqualified doesn't mean you haven't been noticed. Often judges will only truly disqualify if it done by a couple likely to place, they don't want to discourage people from dancing new vogue.

The holds are there for a reason. To aide balance, stability and connectedness throughout the dance. If you have mastered these, you would be in Level 5 anyway.
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cornutt
Administrator
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Posts: 1845


« Reply #24 on: June 04, 2009, 12:00:17 AM »

Another Aussie!  Nice to meet you, ahowlett1. 
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QPO
Moderator
Continental Champion
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Posts: 20848


Adelaide South Australia


« Reply #25 on: July 18, 2009, 11:32:09 PM »

Level 1, 2, 3, 4 Competitors are required to adhere to the holds as given in the technique books at all times. If you are not sure about these, ask your teacher or buy the books yourself. Judges do not take lightly to people trying to be 'clever' at these levels. The rules are very clear on these matters. If you alter or relax hold below level 5.

Just because you have not been disqualified doesn't mean you haven't been noticed. Often judges will only truly disqualify if it done by a couple likely to place, they don't want to discourage people from dancing new vogue.

The holds are there for a reason. To aide balance, stability and connectedness throughout the dance. If you have mastered these, you would be in Level 5 anyway.

I concur with these comments. I feel that styling has taken over from the feet. I have seen footwork that is woeful for such high level dancers, not brushing, not changing direction for feet when swinging.  Footwork should be a focus to bring it back in line.
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