Ballroom and Ballroom in Sequence

Tonight’s Programme of Learning

1.  What is the difference between the figures we use in Old Time dancing and Modern Dancing?

2. How do the figures translate from one to the other style?

3. How many figures can we take from the Cindy Swing and put into a Modern Quickstep?

4. What options do those figures leave us with?

1. What is the difference between Old Time and Modern Ballroom Dancing?

a. When we talk about  Old Time dancing we are talking about a style of dancing and not its longevity although it has been around much longer than the Modern Ballroom style.

In Old Time dancing the partners can separate to dance solo turns or individual moves, in Modern Ballroom Dancing the hold is adopted at the beginning of the dance and maintained throughout.

 b,) How can  figures be translated from one style of dance to another?

Let us take the example of the  Swing V The Modern Quickstep.

One of the quickest ways to learn to dance is to learn its terminology. Dance figures never change, it is the interpretation of the steps to fit the music that changes.

By learning the Sindy Swing we have a dance that is taken to most 50/50 ballroom floors and also taking away many figures that can be translated into your modern Quickstep routine.

Introduced by Patricia Jay and Harry Fleetwood in 1984 when winning lst pize at Minehead.

Tempo 48bpm

Bars 1-4  Step Forward and Point- Step Back and Point Slow Slow Slow Slow

followed by 2 forward locks Quick Quick Slow Quick Quick Slow.

Bars 5-8 Solo turn Slow Slow Slow Slow

Followed by the Box Slow Quick Quick Slow Quick Quick.

9- 12 Outside Diagonal Checks Man side left check Right recover and chasse

Followed by diagonal check with LF recover Right and chasse against LOD 

13-16 LF  Walk into 2 Rotary Chasses and a side close. to start again.

It is worth learning this dance if you are going to social dances because along with the Mayfair Quickstep it is one of the most danced dances on these occasions.

So what can we use from this in our Modern Ballroom routines and what should be discard?

The most obvious figure is the Solo Turn. There is no way you can maintain hold and dance this figure.

Then there is the Side Close Figure used to open the partnership at the end of the dance.

 

What can we use?

The step and points that begin the Sindy Swing at first do not seem to fit the Modern Ballroom Closed Hold but consider them danced in the Charleston Style, man pointing forward lady pointing back

The Lock Step along with the chasse, or turning Tipple Chasse are some of the most popular figures in Modern Quickstep.

There is no reason why the Box Step could not be used but, it is always preferable to choose steps that move along the line of dance when on a crowded ballroom floor. Steps that move backward and cross the general line of dance pattern need to be danced with some care and some experience.

The diagonal check danced into the Line of dance with a recover and say a chasse to the centre could get the dancer out of trouble if other dancers are in the way but the check against the LOD would be more acceptable for use in a Sequence Quickstep when everyone is moving the same way.

The Natural into the Tipple Chasses is a great move in quickstep.

What did we learn from this that we can fit into our Beginners Quickstep Framework?

Step into 1-3 Natural Turn, Mans Back Lock,

Option one  Finishing with Natural into Spin and Reverse Turn to start again

Option Two. We added the Running Finish into Natural and a Drag Hesitation.

Option Three we added Two steps of the Running Finish then into Tipple Chasse’s and Lock Steps

Option 4 We extended our Diagonal Check forward into 4 steps of the Zig Zag Checked and chassed back against LOD ( Here the more experienced dancer could add Woodpecker taps and dance out with a Chasse into natural.

The routine could always include those Charleston Step and points after any Natural Turn.

Great Modern Quickstep Moves from one Sindy Swing.

 

Foxtrot.

Man left Lady right; Walk Walk Zig Zag, step check, rock rock rock side close side.

Slow, Slow Quick Quick Quick Quick, Slow Slow, Quick Quick Slow  Quick Quick Slow’

Mans Left Ladies Right  Natural Promenade turn with drag.

Slow, Slow, Slow, Slow.

Mans Left, Ladies Right Reverse Turn Lady outside.

Quick, Quick, Slow, Quick, Quick, Slow.

Mans Left Ladies Right,

Whisk   Slow Quick Quick, Feather (lady turning ) Slow Quick Quick

Three Step (Lady in Line) Slow Quick Quick

Natural Turn Slow Quick Quick.

If you have questions please ask.

See you next week. Mo 

 

 

The Ballroom and Sequence dance class at Emporium 84 is now well established. Each week we focus on one Ballroom and one Sequence Dance and link the lessons as we can e for Dance City beginners.

This really is a friendly group of people who give their dance group their full support.

If you want to learn to dance, here is a small group where we are able to give personal attention to everyone.

We love teaching at Emporia 84. A very new school that is proving very poplular with locals of all ages.

Week One.

For some, this is their very first venture to do any Ballroom Dancing and our aim today is to look at how we  walk and change weight in time with the music when we dance.

Each week we show you how to build up our understanding of figures and how they link with one another.

Strictly Fun Dance

Is a great dance for beginners. It is great fun, and because the figures repeat themselves makes it achieveable in a relatively short time.

In this dance we learn the zig zag, chasse and lock into check and a change of weight, great beginners work.

The Melody Foxtrot is also a popular Old Time Routine.

Old Time is the Style of Dancing as is Ballroom and Latin and does not suggest its longevity. Having said that many of our popular Old Time dances are older than some of us.

This Foxtrot is built around the walk, and The Melody Foxtrot  gives us an introduction  with the walk and a great opportunity to experience changes a range of timings within 4 beats of music.

We find the Box,  the very best figure for beginners, to use to tackle timing and weight change.

The Melody Foxtrot.

The Box, Step Check, recover close lock step Repeat   

Walk left, check right recover to left step to side side and step dig wall against on right

Now repeat.

Left Right forward

Three quick steps back closing and changing weight on 4th

Three walks forward, closing on 4

Finish with side close to centre.

I like this dance as an introduction to foxtrot because the introductory box figure gives the new dancer time to pick up on the timing of the dance.

Good Luck and look forward to seeing you in class next week.

CATHERINE WALTZ.

We choose this waltz because it incorporates all the basic movements of Freestyle Modern Waltz with the addition of checks and a Closed Telemark we have one of the favourite of our classic sequence dances.

Men starting on Left foot

All six steps of the Reverse, Box, half box, right foot into 123 Natural Turn, man ending backing LOD.

Left foot back for spin turn to end facing diag Wall.

Whisk and Ladies Wing.

 Man steps forward toward Diag centre for Telemark, Lady steps back into a heel turn.

Right foot into 123 Natural Turn

Spin for 3, step back on 4 check to centre then to wall and side close to centre to start again.  

We hope you enjoyed your dancing. Do contact me via the comments box but clearly mark in the subject the club you attend or the email will not be opened.

 

 

 

 

This section of training is about adding figures to the basic framework to make modern dancing more interesting.

This term we will look at tripple Jive, Quickstep Foxtrot and revisit Modern Tango

The routine we will learn for Jive

Basic, underarm turn, stop and go, american spin, fallaway, chasse  prom chasse swivel walks, step kicks to prom and between the legs.

We take on the Modern Foxtrot and learn that we have options of some figures you learned in waltz. If we take a whisk it can be followed by the wing to bring the man into a position to dance a reverse turn. We can take a whisk after a reverse turn  to bring us facing out facing diag centre. The man will  then be free to move off on the right foot so the Weave makes a good option.

To dance a natural figure after a whisk you can use a progressive chasse as the link into a natural turn. In this case the first step of the Natural Turn would be taken outside of the partner.

Add the ladies steps of the 3 step to the end of the mans 123 of a Reverse Turn and you have the Reverse Wave one of the most favourite figures of foxtrot.

 

Improvers Class Week One.

1. The Warm Up

2. Posture and Hold

3. The 4 3 2 entry into Modern Foxtrot

4. Walking In line and Outside the partner.

4. The Lead Step the Rise Step and the Out Step

5. Starting the Feather Step from and open and closed position

6. Creating a continuous sequence.

CHA CHA CHA.

1. Footwork

2. The forward and back basic

3. Turning those steps into New York or Hand to Hand and the Spot Turn.

1. THE WARM UP.

We used our basic Social Foxtrot figures and moved it around the room and first moved into our Modern Foxtrot then on into Cha Cha Cha.

2. POSTURE AND HOLD for Foxtrot.

Here we looked at the four levels of weight through the body adopted throughout and the five positions of contact that once achieved do not change in the Waltz, Foxtrot, Quickstep but do in Modern Tango.

3. THE 4 3 2

Introducing the Modern Foxtrot we used 4 steps forward, 3 back, turning into the last two. the Feather Step, and full Reverse Turn. The Lady learning the HEEL TURN, turning on the heel on steps 1 2 and the reasons why she makes no turn on step 3 but does step forward on the  ball of the foot.

4. THE LEAD STEP, THE RISE STEP AND THE OUT STEP.

Each forward figure in Foxtrot has an Entry step a Body and an Out Step. The entry figure will encourage a heel lead to drive it forward the body of the step will usually have steps taken that necessitate a rise onto the ball  of the foot either because it is travelling or turning and an Out Step that will be taken when moving forward or sideways first on the ball of the foot and finally lowering the heel. The Feather step is a perfect example. The Man leads into the figure on a heel, rises onto the ball of the foot for the second step and take an Out Step of ball flat on the third step. Because when we walk backward we usually step back on the ball of the foot and lower onto the heel as the lady does in the feather. There are  a few exceptions to this rule which we will point out as we come to them.

5.WALKING IN LINE AND MOVING OUTSIDE OF PARTNER v PARTNER OUTSIDE. 

This is designed to bring a smooth flow across the floor but most importantly to stop partners bumping knees as they turn. We learned where these positions arose and will look at the body alignments that accompany them

6 CREATING A CONTINUOUS SEQUENCE.

Here we added a Whisk to the end of our 432 movement as the link step between the figures. Man dancing Forward Left, Side Right and Foot behind to end facing the centre and the same start position but, encourageing  the Lady to take her first step of the new sequence in Promenade or Open postion, turning to her partner on the second step. Repeat.

The CHA CHA CHA

1. Firstly we practiced the Change of Weight. Unlike Foxtrot the Cha is danced through the swing of the knee first onto the ball of the foot lowering the heel and straightening the leg so that, as if on a stepper machine, one leg is flexed whilst the other is straight.

When practicing this movement you will notice how you control the movement of the hips.

Now you need to segregate the upper body from the hips so the hips can move freely.

We then leaned the basic side steps with flex flex straight. Because of the quick timing the second step of this 3 step is  often taken on the ball of the foot only. Then we finish with a straight leg on the 3rd step and all the body weight over that hip.

We went on to learn NY Hand to Hand and Spot turn which I will document in Next weeks Blog entry.  Happy dancing.

 

 PLEASE NOTE . Because most potential students have found major difficulties in finding teachers prepared to do their module assessments. There is a erate need for qualified Sequence Dance Teachers, with the specific skills that will take Sequence Dancing forward. Sequence Dancing is being put on hold by the Ballroom purist intent on snuffing out a style of dancing loved by thousands.  For this reason I will find another way to  promote  this course so those who  love Sequence Dancing can gain qualifications and insight into what we do and how to do it correctly.

If you have any ideas please do not hesitate to contact me or make a comment.

The UKA, Associate Sequence Dance Qualification is an entry to teaching Sequence and general Community Dancing.

Strictly Come Dancing has created such interest in Ballroom and Latin Dancing with young and old longing to get on the dance floor.  Competitive and Performance dance is wonderful to watch but very expensive to become involved in and very few, who have not started dancing at a very young age will ever gain that priviledged position but, there are those out there who would love to dance for social and health reasons; would you like to help them do so?

 This course is for the dancer who would like to teach dancing to the thousands of general dancers dancing in local halls across the country. New legislation in our Community Centres will soon require anyone wanting to run and teach dancing to hold a dance teachers qualification. We currently have a massive shortage of trained Ballroom and Latin teachers in the North East and consequently  we are offering this course to people interested in dancing in the community.

That does not say we do not look at all the correct elements of each and every figure contained in the syllabus, it simply means we do not extend those figures as you would in competition or demonstation.

Of course this is only the first step on the ladder if you truely want to become a dance teacher, teaching children and young people to become competitive dancers, then you would need to continue to study but, at Associate level this qualification is equal to all other Associate examinations. 

With this qualification you could teach in community venues and in night school.

 With the dance training we give you and the backing of the UKA and the information guides they provide, you could start your own community dance or in many areas seek to teach social and sequence dancing in night schools or similar establishments.

 If you are living in the North East and would like more information about the Sequence Dance Teachers Course and have Ballroom or Sequence danced for at least two years or  trained as a dancer and took medals, please contact me on dance.script@fsmail.net marking your subject box mfga1943 teachers course. If we find sufficient interest we will arrange a course for new teachers in the North East.

It will follow a similar format to the one outlines below and require a minimum of 10 and max of 14 people. We will ask for a block payment  for the first 4 weeks training to give students an insight to what is required and give the teachers the opportunity to assess the abilities of applicants. Of those who want to continue we will ask for a non returnable deposit to ensure the costs of the course are met for all who want to complete the course. Your training will be a weekly and over 2 hours offered at the most convenient time for all. Suitable premises will be sought at a reasonable price.

Training will be on a modular basis learning and understanding the theory and practice of one dance or discipline at a time .

Invigilation will take place on a regular basis to ensure the standard of the course is delivered to the highest standard and that students progress is satisfactory.

Supervision of students by the course leaders, will be taken regularly to discuss problems or raise important issues.

Your work will be put onto video so you can monitor your own progress.

We will introduce several teaching styles so everyone has the best chance to learn in a way that suits them.

As with all teachers we will do our very best to give you the best information and training possible. We will be upfront with anyone we feel will not meet the standards of an examiner and we the teacher leave the outcome to the invigilator and examiner entirely. We guarentee no one entering and taking the course a qualifation as of right. The student will always be given prior notice if, at any point, we feel we have any reservations about their work  and disclaim all responsibility should any  student fail to pass the standards of the invigilator or examiner.

Your examination will be at Associate level and taken though the UKA examination body.

 Week One.

What does the programme consist of?

There would seem to be no information out there to allow the average  dance leader know  what the Associate Level Sequence Dance Teachers Examination entails or perhaps more importantly the benefits a potential student would gain from an annual outlay of around £100 to become a member of the UKA. We have tried to correct this by outlining what would be expected of a student when perfecting their Waltz, which is one of eight dances you are required to present at examination.

Associate Sequence Dance Teachers Certificate.

First and foremost we must remember this qualification is the first step on the ladder and that to become a good teacher only the beginning of a huge learning experience. Taking the time to learn the basic steps and alignments at this stage will prepare you for the life long learning that is ahead. Jack Rigby, a fabulous teacher and dancer  who  given his life to dancing said “I have danced all my life, and if I lived for another three lives I would not know all there is to know about dancing.

* Our course teaches the steps and technique we require as teachers, in the familiar format of the Sequence Dance.  

* It is not sufficient to be able to dance the man or woman’s steps. You need to learn how to teach solo (with your shadow partner) and therefore are required to know the format as man and lady.

* The course will teach you how to read a script, recognise and name figures, alignment and direction, footwork, timing and counting in beats and bars.

* At every stage you will be encouraged to speak clearly and with confidence as you learn to dance and teach on.

* It would be useful to both parties if you were able to use a video camera to record your work, so we can exchange DVD discs as you go along.

*If you register for the examination it is advisable that you also take a First Aid certificate. By law, it is necessary for there to be a qualified First Aid person at every public meeting. St Johns ofter a days course at a very reasonable cost which I am sure could be arranged in course time.

*We will also have a look at the UKA’s advice on Risk Assessment and Health and Safety management.   

 1. Good Teaching Practice. No book can teach good teaching practice, nothing can replace a good teacher, the book is only a guideline and the bible of the Sequence Dancer is the Dance Script. 

.2. Script Abbreviations.

.3. How to read a script. .4. Terminology and how to teach others..4. Terminology and how to teach others.5. Correct Alignmnets and Footwork..4. Terminology and how to teach others.5. Correct Alignmnets and Footwork.6. Directions5. Correct Alignmnets and Footwork.6. Directions7. Holds and Balance5. Correct Alignmnets and Footwork.6. Directions7. Holds and Balance8. CBM and CBMP5. Correct Alignmnets and Footwork.6. Directions7. Holds and Balance8. CBM and CBMP9. Left side and Right side Leading5. Correct Alignmnets and Footwork.6. Directions7. Holds and Balance8. CBM and CBMP9. Left side and Right side Leading10. Steps and Figures.5. Correct Alignmnets and Footwork.6. Directions7. Holds and Balance8. CBM and CBMP9. Left side and Right side Leading10. Steps and Figures.11. Health and Safety.5. Correct Alignmnets and Footwork.6. Directions7. Holds and Balance8. CBM and CBMP9. Left side and Right side Leading10. Steps and Figures.11. Health and Safety.12. Risk Assessment.5. Correct Alignmnets and Footwork.6. Directions7. Holds and Balance8. CBM and CBMP9. Left side and Right side Leading10. Steps and Figures.11. Health and Safety.12. Risk Assessment.13. Licence to play cd’s5. Correct Alignmnets and Footwork.6. Directions7. Holds and Balance8. CBM and CBMP9. Left side and Right side Leading10. Steps and Figures.11. Health and Safety.12. Risk Assessment.13. Licence to play cd’s14. Pfofessional Liability Insurance.5. Correct Alignmnets and Footwork.6. Directions7. Holds and Balance8. CBM and CBMP9. Left side and Right side Leading10. Steps and Figures.11. Health and Safety.12. Risk Assessment.13. Licence to play cd’s14. Pfofessional Liability Insurance.15. The benefits of belonging to one of our dance associations.5. Correct Alignmnets and Footwork.6. Directions7. Holds and Balance8. CBM and CBMP9. Left side and Right side Leading10. Steps and Figures.11. Health and Safety.12. Risk Assessment.13. Licence to play cd’s14. Pfofessional Liability Insurance.15. The benefits of belonging to one of our dance associations.This exam is not just about dancing. This journey is about an understanding the theory of Ballroom and Latin Dancing we do as Sequence Dances, and how we best pass that knowledge on to others.

5. Correct Alignmnets and Footwork.6. Directions7. Holds and Balance8. CBM and CBMP9. Left side and Right side Leading10. Steps and Figures.11. Health and Safety.12. Risk Assessment.13. Licence to play cd’s14. Pfofessional Liability Insurance.15. The benefits of belonging to one of our dance associations.This exam is not just about dancing. This journey is about an understanding the theory of Ballroom and Latin Dancing we do as Sequence Dances, and how we best pass that knowledge on to others.Firstly, we feel  you should have had at least two years Sequence Dance experience and an interest in taking Sequence Dancing forward for another generation.

Many sequence dancers running sequence dancing are not Qualified Teachers but until recently the cost of a Personal Liability Insurance was prohibitive without a BDC Teachers Qualification. That is changing but, we cannot stress how important we feel it is for anyone wanting to lead any group, to gain the qualification to do so and have the backing of an Dance Association behind them.

Firstly I suggest you purchase a A4 ring folder and some deviders. All your work, scripts, questions and answers will be stored in this folder, along with any personal information or photographs you want to along with the signed off modules of each stage of training.

Contact Brockbank Lane and order you scripts and  insert of all the dance holds.

The required scripts are: 

Engagement Waltz, Glenroy Foxtrot, Universal Quickstep and Tango Tarquilla

Sally Anne Cha Cha, Blue Bayou Rumba, Let’s Jive, Samba Katrina.

Note: This is not about learning a whole set of old dances. These scripts contain the figures and amalgimations most frequently used in sequence dancing. 

You will also need suitable music.

First Lesson.

Dancing Waltz we will learn how to dance forteen figures.

Natural Turn, this figure is not on the script but, it is an essential step in the Waltz.

Reverse Turn, Whisk, Chasse, The Weave, Back Lock and Forward Lock, Open Impetus Turn, Left Whisk and untwist, Natural Fallaway, Slip Pivot, Hesitation Change, Travelling Contra Check,  Hover.

Weekly Dozen   Each week there will be a dozen questions posed on current work. We ask you to complete the questions and e-mail your answers to us.

This week is a sample of the type of questions we will ask, the answers on this occasion will be printed on the site.

1. If you are facing diag. to wall, where are you backing?

2. If you are facing LOD, where are you backing?

3. If you are facing diag to centre, where are you backing?

4. If you are facing centre, where are you backing?

5. If you are facing diag. to centre against LOD (ALOD) where are you backing?

6. What is the recommended tempo of the Engagement Waltz?

7. What is the allignment of both man and lady at the end of bar 3 and step 3 of the Engagement Waltz?

8. What year was the Engagement Waltz invented?

9. What happens with the timing to allow us to use four steps in a chasse?

10. What is the footwork for a man over the six steps of a Reverse Turn in Waltz?

11. Can you name one entry figure to the  whisk?

12. Can you name one exit figure to the whisk?

 

I will put the answers to these questions on page one of answers next week.

Teaching Practice  Week One

Go to “Waltz Beginners” in the catagory list, and follow the instructions for the box step and the basic figures of waltz. This will give the teacher experience in teaching a beginner to change their weight in Waltz.

This is essential practice beginners. Learning to bring the feet together and settle the weight before stepping off is one of the most important lessons in dance.

Go on to teach the timing using one step on each beat of music, emphasising the heavy first beat and the two lighter beats that follow. Before and student can learn sequence dancing they must understand change of weight and timing.

Remember to teach as Man and as Lady. Remember your directions and give simple instruction as you dance.

Now take your first  script  The Engagement Waltz, and read and dance the steps exactly as they are on the script. Don’t presume anything especially the alignment.

Dance those steps both as man and lady and when you are confident you are in the right place add the footwork or heels and toes.

Remembering that each figure at this point is built into three steps ( Look into the Footwork section to understand the rise and fall contained in all Waltz, Foxtrot and Quickstep Figures. Tango being the exception to this rule.) strip down the script and Bar one and two covers the six steps of the Reverse Turn, Bar two is the Whisk and bar three is the Chasse in promenade position.  Remember in the Chasse the second beat of music is split so we get one, two and, three or four steps with a weight change.

Steadily work through to bar 4. Don’t try to go further in week one.

Your job now is to learn and teach the first four bars.

Announce the Dance.

Talk and Walk through each figure as man

Bring your dancers to the floor. Clearly demonstrate the first 4 bars first as man and then as lady,  and work with your dancers until they feel comfortable. (Or you feel you are in control) Make sure all your directions and alignments are correct as per script.

Your Script reads like this.

Begins

The name of the dance The Engagement Waltz and the date the dance won 1969 with the reference no Vol 38/10 takes up the top line.

Next we learn the dance was arranged by Ken Park, a leading North East Dance Champion.

The dance  won 1st prize in the modern section at the 1969 Blackpool Dance Festival Inventive Dance Competition.

Timing is 3/4   There are thee beats to a bar.

Tempo is 31 beats per minute.

Starting position, In this case it is in Ballroom Hold, Man facing Lady Backing Diagonally to centre.

Now we come to the main body of the script.

We have the Man and Ladies steps given.

We learn that the first four bars contain Reverse Turn-Whisk-Chasse in Promenade position.

Here there are four main columns of instructions.

Column 1 is telling you which bar you are dancing

Clolumn 2 tells you the steps you are dancing and the direction you are taking.

Column 3 gives you the timing

Column 4 gives you the footwork for each step.

Abreviations.

L Left, R Right.   LOD Line of Dance,   H Heel,   T Toe.  Fwd forward.  CBM contary body movement

CBMP contary body movement postition (both of these movements will come up in the notes)

OK let us take on Bar One.

Our heading told us we are doing a Waltz and we know a waltz in danced in 3/4 timing.

Step one, Left foot fwd diagonally to centre beginning to turn left using the heel and rising onto the toe.

Step two. Right foot to the side, finishing backing diagonally to wall and the step is taken on the toe and we are still turning to the left.

Step three. continue turning Left Close the Left foot to the Right foot first using the toe and lowering onto the heel.  Finishing with the man backing the line of dance.

Next week we will talk about the Holds and how we hold the body position as we dance.

Week 2 work through bars 5 to 8.

Weekly Doz will follow.

 

Week 2.

Answers to Week One Weekly Dozen

Weekly Dozen 1

1. If you are facing Diagonally to Wall  you will be backing Diag to Centre against the Line of Dance(LOD)

2. If you are facing LOD you will be backing against the LOD.

3. If you are facing Diag. to Centre you will be backing diag. to wall against LOD.

4. Facing Centre you will be Backing Wall.

5. If you are facing Diag to Centre against you would be backing diag. to wall.

6. What is the speed  to play music for the Engagement Waltz? 31bpm

7. What is the Alignment of the man at the end of Bar 3 Step 3 of the Engagement Waltz?  Face down  LOD in Promenade Position

8. What is the Alignment of the lady at the end of Bar 3 Step 3 of the Engagement Waltz?  Facing Centre of the room in Promenade Position.

9. What changes in the timing of a Chasse to allow us to dance four steps in one bar instead of three? The second of the three beats in the bar is split into two equal beats counted 2 &.

10. What is the footwork for the man over the six steps of the Reverse Turn?

Heel Toe, Toe, Toe Heel, Toe Heel, Toe, Toe Heel

As the man moves forward he naturally walks through the foot from heel to toe. The second step maintains the rise, whilst the third step creates a gradual lowering.

We have the Driving Step which is always taken on the heel, we have the Rising Step or steps, always taken on the ball of the foot and the Out step which is always taken on the ball of the foot and lowers to whole foot.

On step four the man is stepping back so lowers the heel, just as you do when you walk. On step five he turns and rises and step six, once again in a forward movement steps on the toe and then finishes with his Out Step.

11. Can you name an entry figure, or a figure you would use prior to the Whisk? All six steps of the Reverse Turn.

12. Can you name an exit figure for the Whisk or a figure that might follow the whisk? Chasse in Promenade Position.

Theory

Holds and posture are more relaxed in Sequence Dancing than in Ballroom Dancing. Indeed the hold of the Competitor on a full social dance floor can be more Anti Social than Social so be careful how you go and learn to relax the hold where necessary.

Never the less in an Examination situation it will be necessary to describe how you stand, the 4 levels of weight and how you hold your partner. Remember the 5 hold positions

First let us look at the man.

The man stands straight, Head on top of the shoulders, which stay in line with the side of the body which in turn is in line with the hips. We get people to put their hand in their back pockets, which brings the shoulders back and an easy way of feeling the stance.

The 5 points of contact.

Man lifts both arms bending the left so the hand is around ear level, contact one, takes the ladies Right hand in his Left.

Contact two the mans right hand cups the ladies right shoulder blade, (Don’t try to wrap the arm around her body and pull her in) Elbows are lifted.

Contact Three The Lady places her left upper arm gently on the mans lower right and then Contact Four Lowers the fingers of her Left arm onto the mans upper arm.

Contact Five Lady Left side should make hip contact with her partner. Without this contact it will be more difficult to make turns.

The ladies right side is aligned at around the mans shirt buttons This allows the man’s right foot between the ladies feet, the left on the outside of the of the partnership , saving bumping knees.

The Man will lead with slight pressure of his right hand and the body contact down the right side of the body. This body poise and contact should be maintained at all times.

Note:  It can be dangerous for the man to allow the right hand to drop,  any pressure to lead placed on the ladies kidneys will be very uncomfortable.

Good Back Care advises we should never be tempted to encourage the lady to lean back from the waist.

All holds are illustrated on a  insert you can order from Brockbank Lane.

Practical Session.

Read bars 4 to 8 on your script.

Dance through as man and lady.

Now Prepare to teach as described in section one.

Precede any instruction where you want the dancers to join in with “and” so they all start together.

 

Weekly Dozen.  Week 2.

1. Remembering that CBMis a body movement that initiates a turn, by referring to your script, enter the steps in your Natural Turn where CBM is used.

2. Why is it important to give the class you are teaching a verbal indication of when you want them to start to dance?

3. What is the difference between a question asking about Foot Positions and asking for Footwork.

4. Which partner makes a heel turn in a Telemark?

5. How would you help a couple struggling to grasp a step when you are teaching a dance?

6. Which partner makes the turn in the Whisk?

7. In the Whisk the man makes a. no turn b.1/4 turn c. 1/2 turn

8. On a script you may see OP, what does this mean?

9. Who is responsible for the safety of dancers in a room?

10. How long does a First Aid Certificate last?

11. What is the difference between a Closed Impetus and an Open Impetus?

12. If someone at your dance took ill and asked you for an Asprin, would you provide it and help the person to take it?

Good Luck and see you in lesson 3.

 

 

 

 

 

 

 

 

 

 

Week 2.

Answers to Week One Weekly Dozen

Weekly Dozen 1

1. If you are facing Diagonally to Wall  you will be backing Diag to Centre against the Line of Dance(LOD)

2. If you are facing LOD you will be backing against the LOD.

3. If you are facing Diag. to Centre you will be backing diag. to wall against LOD.

4. Facing Centre you will be Backing Wall.

5. If you are facing Diag to Centre against you would be backing diag. to wall.

6. What is the speed  to play music for the Engagement Waltz? 31bpm

7. What is the Alignment of the man at the end of Bar 3 Step 3 of the Engagement Waltz?  Face down  LOD in Promenade Position

8. What is the Alignment of the lady at the end of Bar 3 Step 3 of the Engagement Waltz?  Facing Centre of the room in Promenade Position.

9. What changes in the timing of a Chasse to allow us to dance four steps in one bar instead of three? The second of the three beats in the bar is split into two equal beats counted 2 &.

10. What is the footwork for the man over the six steps of the Reverse Turn?

Heel Toe, Toe, Toe Heel, Toe Heel, Toe, Toe Heel

As the man moves forward he naturally walks through the foot from heel to toe. The second step maintains the rise, whilst the third step creates a gradual lowering.

On step four the man is stepping back so lowers the heel to keep his weight  back. On step five he turns and rises and step six, once again in a forward movement steps on the toe and then lowers again to the heel.

11. Can you name an entry figure for the Whisk? All six steps of the Reverse Turn.

12. Can you name an exit figure for the Whisk? Chasse in Promenade Position.

Theory

Holds and posture are more relaxed in Sequence Dancing than in Ballroom Dancing. Indeed the hold of the Competitor on a full social dance floor can be more Anti Social than Social.

Never the less in an Examination situation it will be necessary to describe how you stand and how you hold your partner.

First let us look at the man.

The man stands straight, Head on top of the shoulders, which stay in line with the side of the body which in turn is in line with the hips. We get people to put their hand in their back pockets, which brings the shoulders back.

The 5 points of contact.

Man lifts both arms bending the left so the hand is around ear level, contact one, takes the ladies Right hand in his Left.

Contact two the mans right hand cups the ladies right shoulder blade, (Don’t try to wrap the arm around her body and pull her in) Elbows are lifted.

Contact Three The Lady places her left upper arm gently on the mans lower right and then Contact Four Lowers the fingers of her Left arm onto the mans upper arm.

Contact Five Lady Left side should make hip contact with her partner. Without this contact it will be more difficult to make turns.

The ladies right side is aligned at around the mans shirt buttons This allows the man’s right foot between the ladies feet, the left on the outside of the of the partnership , saving bumping knees.

The Man will lead with slight pressure of his right hand and the body contact down the right side of the body. This body poise and contact should be maintained at all times.

Note:  It can be dangerous for the man to allow the right hand to drop,  any pressure to lead placed on the ladies kidneys will be very uncomfortable.

Good Back Care advises we should never be tempted to encourage the lady to lean back from the waist.

Check this out with the inserts you ordered from Brockbank Lane.

Practical Session.

Read bars 4 to 8 on your script.

Dance through as man and lady.

Now Prepare to teach as described in section one.

Precede any instruction where you want the dancers to join in with “and” so they all start together.

 

Weekly Dozen.  Week 2.

1. Remembering that CBMis a body movement that initiates a turn, by referring to your script, enter the steps in your Natural Turn where CBM is used.

2. Why is it important to give the class you are teaching a verbal indication of when you want them to start to dance?

3. What is the difference between a question asking about Foot Positions and asking for Footwork.

4. Which partner makes a heel turn in a Telemark?

5. How would you help a couple struggling to grasp a step when you are teaching a dance?

6. Which partner makes the turn in the Whisk?

7. In the Whisk the man makes a. no turn b.1/4 turn c. 1/2 turn

8. On a script you may see OP, what does this mean?

9. Who is responsible for the safety of dancers in a room?

10. How long does a First Aid Certificate last?

11. Waht is the difference between a Closed Impetus and an Open Impetus?

12. If someone at your dance took ill and asked you for an Asprin, would you provide it and help the person to take it?

 

Week 3

What you should have achieved.

Points to pick up along the way.

Tips when teaching.

The Practical Work

The Theory behind the  work

Preparing to sign off your module.

1. You now should be able to dance and teach as man and lady the first eight bars of the Engagement Waltz.

2. Reading a scirpt should be becoming easier as you learn the abreviations.

3. You are perhaps realizing the directions you have taken for years when dancing are just not what they should be. Figures like the Whisk, ask yourself does both the man and lady open the partnership into promenade position, or is it just the lady. It is important that you take on this detail as you will need to prove your understanding of dancing by talking about the why’s and wherefore’s. Look at your script it is your instruction book.

4. Although footwork is only part of the focus, to be able to achieve rise and fall and body sway, you need to master the basic concept of why you are using a heel and rising onto the toes.   It is that heel lead into a step moving right though the foot and onto the ball . If you have made that rise, you maintain it until you are ready to lower and again that movement is done through the foot first on the toe and then onto the ball and finally onto the whole foot.

Of course rise and fall does not only happen because we stand on our toes. It also comes from the flexing and straightening of the knees as we move across the floor.

Teaching Practice Section One.

Starter Activities and How to Engage with the dancers on the floor.

In week one we talked about our preparation to teach. We introduce the dance and the inventor, and then slowly and methodically walk through the whole sixteen bars on both sides of the hall, naming the figures as you go.

The Benefits of these starter activities are

* Dancers are engaged right fron the start of the lesson

* Prior knowledge from another sequence dance can make a different movement more familiar.

*Pupils are quickly involved in what is going on

* Taught in small chunks dancers will have the opportunity to practice the figures in each section, several times before actually tacking the whole dance.

Some possible pitfalls are

*The initial activity can take too long

*Latecomers can disrupt the activity, It is important they know you will start on time and if necessary, without them

* Remember to Plan every teaching session or you can guarentee you are planning to fail. 

Practical Work.

This week you are taking on bars 8-12 of the Engagement Waltz.

Carefully walk through every step exactly as the script instructions.

Learn the names of the figures, the footwork and ensure that when dancing with your partner that each rises and falls at the same time.

Consider the position of the Whisk as it is danced in this routine. (In what position would you normally end dancing Whisk?)

Note the mans steps into the Left Whisk and consider the ladies position before she untwists her partner.

Dance and practice your teaching skills both as man and lady. Give instructions by speaking in a voice that is confident and audible. Learn where the shaddow partner would be when dancing alone.  Good Luck.

Answers to Week 2’s Questions.

This is the last week we will answer the questions on-line. Those who are interested in continuing with the course should submit their answers in the comments box below heading the posting with Questions for Exam week………….

1. Remembering that CBMis a body movement that initiates a turn, by referring to your script, enter the steps in your Natural Turn where CBM is used.

Answer Step 1 preparing to turn Left on step 2 and step 4 preparing to turn Left on step 5. 

2. Why is it important to give the class you are teaching a verbal indication of when you want them to start to dance?

So that everyone can start at the same time.

3. What is the difference between a question asking about Foot Positions and asking for Footwork.

Foot positions indicate the direction in which  the next step will be taken and may or may not be in the same alignment as the body. Footwork is the part of the foot that strikes the floor on any one beat of music.

4. Which partner makes a heel turn in a Telemark?

The Lady.

5. How would you help a couple struggling to grasp a step when you are teaching in a dance?

Quietly move alongside without making it obvious that you have done so for any particular reason. Never identify anyone who is struggling.

6. Which partner makes the turn in the Whisk?

When coming out of a Reverse Turn it is the Lady who makes a body turn into prom. If both partners open up the figure becomes a Fallaway.

7. In the Whisk, after a Reverse Turn, the man makes a. no turn b.1/4 turn c. 1/2 turn.

The Man makes no turn.

8. On a script you may see OP, what does this mean?

Outside partner  the counter to that is PO which is Partner outside. Look up Locks and Back Locks.

9. Who is responsible for the safety of dancers in a room?

The Dance Leaders. They are responsible and should always procede any communal activity with a Risk Assessment. We will come to Risk Assessment later.

10. How long does a First Aid Certificate last?

Three years. In a communal space there should always be at least one trained First Aider.

11. Waht is the difference between a Closed Impetus and an Open Impetus?

The Open Impetus will finish in a Prom Position. The Closed Impetus, referred to as an Impetus retains the closed hold.

12. If someone at your dance took ill and asked you for an Asprin, would you provide it and help the person to take it?

Although very tempting your answer should always be NO. You will not be aware of an individuals medical condition and therefore should never administer medication.

 

New Questions for Week 3.

1. The Engagement Waltz begins with the Full Reverse Turn. Can you name two other Sequence Dances that start in the same way?

2.What is the footwork for the Natural Hesitiation in the Engagement Waltz.

3.Can you name another dance Tempo that might include a Left Whisk?

4. Who does the Heel turn in the Impetus Turn?

5. What is the correct body contact position of the partners in a chasse in Prom.

6. How many steps are there in a Weave in Waltz time and what is the normal timing.

7.What does the abbreviation NFR refer to?

8. Waht is the preferred head position of both partners when starting the Waltz with a Reverse Turn?

9. Waht does the abbreviation PO signify on a script?

10. In the Engagement Waltz, from what hold do we start the Weave? Can you identify another position from which we can start a Weave in the Waltz?

11. What is the timing for a Weave in Waltz time?

12. How many bars of music are used in a Weave in Waltz time?

Signing off your work.

It is time to think about taking a lesson with a qualified teacher to have your work signed off.

On registration, each student will be sent a certificate and code number so that their course can be signed off by a qualified teacher as having reached the necessary standards of competence.

Details of this will be posted after the forth weeks training.

Good Luck and happy dancing. 

 

Week four and the final round up on the Waltz.

Last week we talked about timing and progression around the floor.

Timing.

The Waltz.This  dance has a ¾ timing, meaning there are 3 beats in every bar of music. All waltz steps are variations of forward side close and settle the weight over both feet before taking a step back and side close.So let us step out the timing with our feet. 1-2-3 settle the weight  1-2-3 settle the weight. To teach progression is not as easy but I use the idea of driving around a roundabout in Spain where every road off is to the Right and therefore  a Natural Turn and a turn to the left and into the inside lane is a Reverse Turn. I will teach the figures in a short sequence and then encourage the dancers to start to dance from different positions on the roundabout. Soon we are dancing in a circle and not requiring a dance hall that stretches in a line from Newcastle to London. Although usually built into a Sequence Dance changing alignment can be done on any step where the man steps back side close. Ie Natural Spin turn into  back side close either to wall to go into Natural, to LOD or to Centre for a Reverse movement. There is of course the Change of Direction and we will note others as we progress.Happy Dancing. Next we move onto Rumba. For those who wish to continue you course details will be available on request but, you must have found a teacher to verify your practical skills and I must be able to identify that teacher through a registered Dance Association.    

As teachers you need to keep up with legislation and much is to be learned from the IDTA and Dance Sport websites relating to dance. Pull them down and file them for future reference.This week we will complete the necessary elements of our Waltz.

v      Reading theory from a grid. (Grid supplied to students, use password to access)

v      How to teach timing.

v      Progression around the room

v      Complete the practical elements of Waltz

v      Complete the theory of our Waltz with the weekly dozen.

Reading dancing from a grid.This is the normal format of technical teaching manuals.1 to 3 of a Natural Turn would be noted as follows.

Now make yourself a grid for any one of the figures in the Waltz so that you understand the detail at which you as a teacher will be required to show you understand each figure.How to teach timing.Very few teachers will not have come across dancers who have absolutely no concept of rhythm but, love to dance.As part of the homework for this week explain how you would teach someone to hear the beat of the music.

As well as many other basics in dancing, I use the box movement to teach both rhythm and progression around the room.Using the Waltz I would first describe and show the figure I wanted my students to dance and with the man using his Left foot the lady her right call out the steps in time with the music.If I were dancing Foxtrot I would explain how we use two beats of music for every slow step and the quick steps all have their own beat. I would show again by using the box, the step forward and back having two beats and the side close quick beats each having their own step.

Progression around the room in a Sequence Dance is made simple as most dances are made up of  figures that form a pattern of zig zags around the room flowing in and out from wall to centre and centre back to wall.

Modern Dancing, because it has no regular pattern needs to have its own rules for turning corners.Again I use the box, dancing into the  corner on the first three step and by turning the back three steps to the new line of dance, simply and effectively changing our direction.

It does not need to be the box, there are several other figures that can be used to change direction, can you name them?

Complete the practical elements of your Waltz by reading and understanding all the figures in the last four bars of your dance. You could be asked to name the figures that could precede a Whisk or perhaps two figures that could follow a Whisk. So look at every figure and be sure you know at least two entries and exits for every figure and how they are danced.

Use your knowledge of Sequence Dancing to help you with this. Every dance is different and you will find many options if you look for them.

Now it is practice, practice and more practice but, be absolutely certain you are not practicing bad practice. Get it right to the script and you will succeed.  If you are unsure and need to clarify anything don’t hesitiate to contact me.

Weekly Doz will be ready later.