partnerdanceonline.com
Welcome, Guest. Please login or register.
April 24, 2014, 12:07:34 PM

Login with username, password and session length
Search:     Advanced search
A lot of people are visiting Smiley Smiley
Undecided Undecided but not many are posting....
please say hi Cheesy
116187 Posts in 1853 Topics by 221 Members
Latest Member: cleverpete
* Home Help Search Calendar Login Register
+  partnerdanceonline.com
|-+  Partner Dancing
| |-+  Partner Dances
| | |-+  Ballroom dance -advanced (Moderators: Rugby, cornutt, ZPomeroy)
| | | |-+  Expression
0 Members and 1 Guest are viewing this topic. « previous next »
Pages: [1] 2 3 ... 6 Print
Author Topic: Expression  (Read 6219 times)
ttd
Open Bronze
*
Posts: 631


« on: May 23, 2009, 07:47:59 PM »

OK, I was told today that while I am technically correct in my dancing (at least for now), I am not really expressive. Or to quote "dancing is what's missing in your dancing", and I need to think about that. Sigh. How does one become expressive?
Logged
QPO
reg mods
Continental Champion
****
Posts: 20763


Adelaide South Australia


« Reply #1 on: May 23, 2009, 08:00:49 PM »

well how I would read it...you know the dance, now you have to feel the dance.  Like a singer or an actor you now have to get into the part of the dance. for example. if it is a watlz what does a waltz mean or feel?  ie Love, sensual, this is what you need to express when you dance it. IMO
Logged

Dance is a delicate balance between perfection and beauty.  ~Author Unknown
Dance Forum
skipper
Bronze
*
Posts: 376


« Reply #2 on: May 23, 2009, 08:25:22 PM »

It is always a mystery to me as well. I m amazed at how the standard girls do it-----there is not alot of eye contact there ---you are out there "all alone".
At least in smooth there are chances to make eye contact to smile.
Logged
ttd
Open Bronze
*
Posts: 631


« Reply #3 on: May 23, 2009, 08:33:49 PM »

well how I would read it...you know the dance, now you have to feel the dance.  Like a singer or an actor you now have to get into the part of the dance. for example. if it is a watlz what does a waltz mean or feel?  ie Love, sensual, this is what you need to express when you dance it. IMO

So how do you express "sensual" or "romantic"? Is it facial expression, something in your body actions or ...? If it something in you body actions (i.e. extra stretch), how do you do it without sacrificing the technique?
Logged
QPO
reg mods
Continental Champion
****
Posts: 20763


Adelaide South Australia


« Reply #4 on: May 23, 2009, 08:48:40 PM »

you have to express it through your body and then out to your face, it is a feeling that comes from within. it is like acting you have to show a feeling that you may not feel in real life, use your imagination how would you express it to someone you love?

It takes some practice but once you find how to do it, you will have it forever
Logged

Dance is a delicate balance between perfection and beauty.  ~Author Unknown
Dance Forum
emeralddancer
Intermediate Gold
**
Posts: 2978

Nottingham, MD (by way of NJ)


« Reply #5 on: May 23, 2009, 09:10:50 PM »

well ttd .... you me both. my pro and I were on the phone thursday night about this very topic and he asked me "ok what do you think of with waltz, what do you feel the waltz is", same with the other 4. we literally went down all 5 of the standard dances, and I gave what my explanations were.

Here are my reflections to each of the dances as I explained to him ... for me these are things I would like to emote (is that the right word?) - (I can not remember verbatem what I said, and may be because I have thought more on it I have expounded a bit)

Hope this helps ... by my lesson friday ... my waltz and tango took a turn for a major improvement because I finally completely let go, stopped thinking how my position was, what my feet were doing (I let that be in the back of my mind - which was important to let that in and along for the ride too) and just instead put myself completely in the moment of the dance as soon as I heard each song ... and I completely fell ... and what a wonderful feeling of falling it was ...

Waltz – first meeting someone you have an attraction to, longing, flirting, finding out if there is interest, testing the waters, kind of like the first date, sweet, but a bit painful, unsure of the others feelings in you, almost love but not quite sure, bittersweet, longing.  Must include things like timing, movement and shape (of the man I am interested in ...what he likes, dislikes, feels etc ...), getting to know one another, getting to feel in sync with one another, starting slow with a rise, ending sweetly, wanting it to continue, not wanting it to end, reflection, ecstasy as a satisfying first, second or third date, wishing and wanting more.

Foxtrot – Nice, comfortable, like a long marriage, satisfying, but somewhat detached yet still in sync, love is still there - just different, evolved, elegant, elitist like upper crust of society, all on the outside appears wonderful and full, but working to maintain balance and peace, working together for something common (like the kids)

Tango –  runs the gambit of emotions, passion, fire, anger, lust, jealousy, desire, elegant smokey looks, deep red lips, half shut eyes, fierce looks, bold embraces, pushing, invitations to sin, teasing, betrayal, rough, barely contained, confusing messages, hot to cold temper with in seconds, denial of interest, words that indicate otherwise, what you feel soul searing and yet must keep barely contained else others see it, blood red dresses tightly fitted to the skin, long gloves, high heels, lingerie that conceals but brings the invitation to imagine what is hidden beneath, corsets, seemed stocking thigh highs, garter belts, seductive perfume, caviar, champagne, wide brimmed hats with eyes looking from beneath lowered lashes, men smoking cigars and raised eyebrows, sneers, leers, turning and walking away. Coming back because one can not stay away ...

Viennese – being in teenage love, breathless, dizzy, cast all cares aside, nothing EVER bad could happen, world ahead of you, dare devil, dizzy like carnival rides, fast roller coasters, extreme sport like, limitless energy, devil may care attitude, joyful, optimistic, i can do anything, exhilarating

Quickstep – no less fun, just more sophisticated and little understated than VW. Young Adult playing it cool but still knows life is an adventure, wanting to please and be pleased in return, a bit naughty ultimately good, goodie two shoes, I can do what you can do but better, surprise, switching it up, curious what more one can do, doing without getting caught, the tease, adding in old with the new, joyful, carefree, do not have to worry about the next moment, in the moment only, completely in sync with the one you are with, same time, same place, all is right in the world.





Logged

It is more important who they are as people and only then is it important who they are as dancers.~Marcia Haydee
ttd
Open Bronze
*
Posts: 631


« Reply #6 on: May 23, 2009, 09:35:22 PM »

I think I sort of know about the character of the dances. We talked about it before. But from my prior experience/experiments of attempting to add this in, for example, I would add more stretch in the upper body, because I felt like that would make things look more emotional, and then I would get a complaint that I became back-weighted, and so we would go back and work on the posture to make sure that does not happen again. Or I would do something sharp in tango and again, get a complaint that I committed a technical boo-boo. That was a while ago, we haven't been working on expression for a really long time, actually I don't remember exactly when the last time was. Sometime last year, I guess. I think for almost a year my lessons were 95% about technique. So now, when I need to put this expression thing in, I feel kinda careful (as in, I hope I don't do too much and screw this up).
Logged
emeralddancer
Intermediate Gold
**
Posts: 2978

Nottingham, MD (by way of NJ)


« Reply #7 on: May 23, 2009, 09:45:43 PM »

thing is ttd .... if in each dance you allow whatever thought that makes you feel say a waltz, let that emotion come over you, think of those things that brings that emotion on, believe it or not it also helps with the technique ho much, how little, how sharp, how slow, how fast, etc.

that being said you also have to be in tune to a degree of the music your partner is wanting you to hear as well as the music played. that can play a HUGE part in the expression and feeling of the dance itself. (routine or no routine, technique too)

I was amazed that all of this came together for me, the biggest thing the most important thing, was listening totally to my partners body, letting him flow around and through me, what he was "telling" me non verbally, how his body was interpreting the music and translating that message to me.

so like in tango, I hear the music playing in the background and kept that in the back of my mind.  I then tuned into my pro, listening for the minute subtitles of what his leading was telling me. believe it or not, I could tell if he wanted me to be sharp and quick, if he wanted power or seduction, if he wanted lust or undisclosed passion, AND how to convey them. His body lead me through the pattern of steps, lead me through the emotions to show, lead me through the technique to convey.

it was way cool.
Logged

It is more important who they are as people and only then is it important who they are as dancers.~Marcia Haydee
elisedance
Administrator
Blackpool Finalist
*****
Posts: 34896


ee


« Reply #8 on: May 24, 2009, 06:26:46 AM »

IMO its hard - and sometimes even counterproductive - to express as the follower unle you do it from the lead.  I try to emote what my partner is trying to dance and he expresses through me (or at least he should). 

To put it another way, each dance step - it does not matter what the style - is not only moving but actually saying something but it is said through the lead.  This is easiest to see in 'poses' where you have time to express the shape and motion created by the lead.  To me its largely what dancing is about.
Logged

If you must leave the house, go build a home...

The limit of your love is also the limit of your art...
catsmeow
Bronze
*
Posts: 339


« Reply #9 on: May 25, 2009, 08:46:09 PM »

Instead of dancing rumba at 24-26 beats my partner and I are wanting to try a much slower time at an upcoming show. Suddenly, my job as timing manager has taken an entirely new direction as I had hoped. How does a couple fill out the beats with so much extra time? We are working hard to find out. Now lets apply this same problem to tango. We are using argentine tango timing instead of the faster international timing. How would you use your expression to not make it look like a very slow tango!
Logged
QPO
reg mods
Continental Champion
****
Posts: 20763


Adelaide South Australia


« Reply #10 on: May 26, 2009, 02:29:23 AM »

Now that is interesting that you are timing manager, how does that work?
Logged

Dance is a delicate balance between perfection and beauty.  ~Author Unknown
Dance Forum
TangoDancer
Open Bronze
*
Posts: 736



« Reply #11 on: May 26, 2009, 08:11:57 AM »

Interesting posts. ED has found something that works for her, and it is good, though, IMO, difficult. EE's post #8 is a good one. Meows's post #9 is....hmmmm?

My answer...How does one learn and input expression? Look between the steps. It is in this movement that one will find the body wanting to do.....something. I tell my pupils to first, understand the character of the dance and its music, then divide the dance into 2 parts; the step and the movement that follows before the next step. They are literally dancing 2 things on each step...a foot step and a body step. The step is not finished until both parts are danced. The first part is unique to the dance; the second part is unique to the dancer. This means that the steps of the dance are the same...a man's half box in waltz is forward - glide slightly sidewards - close. The way that the body responds and reacts in between each step might be loving to one, waning to another, emotional to a third, and vivacious to a fourth. This is the drawback with ED's method of thinking what does X make you feel. This second part, this part where the expression lives, is not only about what you feel, it's also about how we interpret the feeling while maintaining whatever movement came naturally from part 1...the step. Another drawback is that this feeling is constantly changing. I might say that waltz makes me feel romantically swooned off of my feet, but then there's forever swooned by this waltz, that doesn't work with infatuated swoon by that waltz, which isn't the same as lustfully swooned by the next waltz.
Logged

The most beautiful part of the dance is often found in between the steps... and in the movement within the stillness.
elisedance
Administrator
Blackpool Finalist
*****
Posts: 34896


ee


« Reply #12 on: May 26, 2009, 09:00:48 AM »

TD - that is a remarkable post .... wow - one could say that each step goes through a 'dance-dancer cycle'. 

Many years ago I used to do 'graphology' - reading personalities by hand writing (not much use now Cheesy) and the secret to that was to not look at the letters themselves but to the connectors between them.  Very much like dance, we think of the letters but we just subconciously do the connectors - so they are more a reflection of our personalities.  This is very similar - and I am going to look at dancers differently  - try to catch what they do between the step and not on it, as it were.... we need a thread here on this I think.
Logged

If you must leave the house, go build a home...

The limit of your love is also the limit of your art...
Rugby
Moderator
Gold
****
Posts: 3534



« Reply #13 on: May 26, 2009, 06:03:05 PM »

Every waltz, every samba etc. is different depending on the music.  It is like the music or singer dictates how the dance is danced.  My body is moved in a way that I am the singers voice, the musicians instrument, the feeling or message of the song is shown through me.  I go to dances and everyone dances each dance the same, as in every waltz or foxtrot or what have you is the same.  The feeling in the dance is not there.  I say they are dancing to waltz but not the particular waltz playing.  I think they hear it is a waltz and then don't listen to the music or what it is telling them.  It's just 123, 123 and so becomes stagnant or boring after a few bars.   
Logged

You have to fight through a lot of crap before you find your way up out of the toilet. Sometimes I think I have a good hold on the rim then I slip back in.  Each time I don't sink quite as deep though. - Rugby
Some guy
Intermediate Silver
*
Posts: 1437


« Reply #14 on: May 26, 2009, 06:27:41 PM »

I was amazed that all of this came together for me, the biggest thing the most important thing, was listening totally to my partners body, letting him flow around and through me, what he was "telling" me non verbally, how his body was interpreting the music and translating that message to me.

emeralddancer, this was an AMAZING post!  Loved reading it!  You're at a whole different level: the only person who described what you did (but nowhere near as romantically as you did) was my coach.  I would love to dance with you someday... in the hopes of experiencing even a fraction of what you described.  
Logged
Pages: [1] 2 3 ... 6 Print 
« previous next »
Jump to:  

Powered by MySQL Powered by PHP Powered by SMF 1.1.11 | SMF © 2006-2008, Simple Machines LLC Valid XHTML 1.0! Valid CSS!