Contents
Dance introduction
Origin of the dance
Dance swing
Standard dance kandra exchange
Sidewalk and glide
O.P. style right turn of 90 degrees
Backward staccato glide
Re-leaning
Open natural turn
And footed natural turn
Textile step
Electric pattern left turn open
Self-indulgent jumping hesitation step
Hesitation step all-around positional change exercises
Changes of the first chain step
Checking of the second chain step
Changes of the third chain step
Left and right axial turn steps
Open positions Synchronized guided right rotation of female partner alone
Accompaniment Tone Patterns Dance Profile
Origin of the Dance
Dance Swing
Standard Dance Contra Swap
Side Walking and Sliding Steps
O.P. Style Right Turning 90 Degrees
Backward Toning and Sliding Steps
Heavy Tilt
Open Natural Turn
Parallel foot natural turn
Textile step
Electric pattern left turn open
Self-indulgent jumping Hesitation step
Hesitation step all-around positional change practice
Change of the first chain step
Changes of the second chain step
Changes of the third chain step
Left and right axial turn step
Open position synchronization guides the female partner to rotate right alone
Accompaniment patterns
Expand Edit this section of the dance introduction
Waltz dance
Waltz according to the speed of the division into two kinds of fast and slow, people call the fast waltz Vienna waltz, not the word "Vienna" that is the slow waltz, the fast waltz is called the Vienna waltz. The slow waltz, which is evolved from the Vienna waltz, is a three-step waltz. As a three-step waltz, its basic steps for a beat to jump one step, each bar three beats to jump three steps, but there is also a bar to jump two steps or four steps of a specific dance. The two types of waltzes, fast and slow, are mainly rotating, hence the name "round dance". Waltz because of the slow speed, in addition to more rotation, but also evolved a complex and colorful dance steps, many of which in the footwork with the tango, foxtrot and quick-step dance steps of the same name are basically the same, just different rhythms and styles. Plus the four major skills in the waltz in a comprehensive and fully embodied, so it is listed as the first dance to learn the GB dance. Waltz steps in the slow speed of the three-beat dance in the smooth running, due to the obvious lifting and lowering action, such as a continuous wave, coupled with the gentle and dexterous tilt, swing, reverse and rotary movements and a variety of beautiful modeling, so that it has a solemn and elegant, stretching and generous, but also gorgeous and colorful, ethereal and immortal unique charm. Therefore, it enjoys the name of "after the dance". [1]
Edit this section of the origin of the dance
The word waltz, according to evidence is about 1780 around the time of the emergence of the 3-beat "pong-chong-chong" rhythm of the round dance is very early before the popularity of Europe, especially in Germany, Bavaria, and Austria, Vienna, the area of the farmers; as for the waltz type of dance music, as early as 1780, it is the first time that the waltz type of dance music. The waltz type of dance was played at royal balls in Hapsburg as early as the 17th century. Waltz dance
While the waltz has long been popular in rural areas, but it can become the urban population of the dance fashion, but there are its social changes and artistic interests and other aspects of the reasons. 18th century the French Revolution and its intense influence in European countries, the rise of the Industrial Revolution and the emergence of the working class on a large scale and so on, so that the people on the requirements of self-indulgent dance style changed dramatically. The once popular Minuet and Cavort were eliminated because of their stereotypical and formal styles. The waltz, with its relaxed, natural body and elegant demeanor, became a more enjoyable way for people (especially the French) to enjoy themselves. The rapid popularity of the waltz was naturally opposed and hindered for various purposes. In addition to the Church that it was immoral, uncivilized, and even vulgar and evil for men and women to hold close to each other and spin too fast, there was also the original teaching of the minuet and other court dances as a thorn in the side of the people who saw it as a thorn in the side of the flesh. The waltz's easy-to-learn and free-flowing character attracts a wide range of dancers, often as long as the side to watch for a while to learn. This dance does not need to be like the minuet, non-mastery of a large number of complex patterns in order to debut. In conservative England, the waltz was even hated and feared by many. At that time, the newspaper invective: "Nowadays, the elderly noblewomen dance around the room like a gust of wind, while the daughters clad in gowns are in the waltz music of the debauchery of jumping back and forth; the old in a long line, such as the tide of the tide like a surge; young and unrestrained, relaxed limbs; they follow their husbands to walk as fast as they can, without leaving a little of the mystery of the bridal night. We were pained to see, at the English court dance last Monday, that the French nastiness called the waltz was introduced for the first time ...... It is enough to see this erotic dance of entangled limbs and tightly packed bodies, and to see the fine traditions of dignity and subtlety which distinguish English women so grossly perverted! ......When this kind of lewd performance was confined to prostitutes and lewd women, we did not think it was worth making a fuss about, but now that it is being imposed on the upper classes by the unscrupulous members of that respectable social class, we feel it is our duty to remind parents not to send their daughters to such a deadly plague! ...... We believe that it is no longer tolerated by any moral English social class. No one who has been out at night can fail to see, with uneasy feelings, the sight of our sisters and wives being seized by strangers, and subjected to arbitrary embraces, and jogging round a little room." This rant, however, Waltz Dancing
made Europeans even more enthusiastic about the waltz. The bourgeoisie in the immediate aftermath of the French revolution fully embraced the waltz. According to statistics, in Paris alone at the end of the 18th century, more than 700 dance halls sprang up. After 1834, the waltz spread to the United States. Its first stop in the United States was Boston, and it then spread to New York and Philadelphia, where legend has it that it also made the upper class stay in their seats. But it wasn't long before the waltz took root in American social circles by the mid-19th century. The popularity of the waltz was inextricably linked to the ease and fluidity of its music, which was composed by two Austrian composers, Franz Lerner and Johann Johannes Lerner. Franz Lerner and Johann Strauss, two great Austrian composers. The contribution of the two Austrian composers Franz Lerner and Johann Strauss is an important part of the waltz history books. The Venetian waltz created by them is an important part of the history of the dance. The standard tempo of the Venetian waltz created by them is a fast tempo of 55 to 60 beats per minute, which is perfect for modern tastes. The American contribution to the development of the waltz lies in the two variations of the waltz, the Boston and the Hesitation. The former has a slow rhythm, long steps, and more movements in the front and back directions; the latter is slower, with 3 beats to 1 step. Experts believe that the most important contribution of the waltz to the development of ballroom dancing as a whole is the gradual realization of the fact that only natural body movements can last. This enabled ballroom dancing to finally move away from the necessity of using the five positions of the feet in classical ballet, as was the case in the 19th century. [2]
Editing this section of the dance swing
Swinging movements and turning movements can not be separated, the coexistence of the two is a kind of engine and tire relationship, no turning movements, swinging movements will appear hard and unbalanced, the completion of the appearance of swinging, to be through the body turning movements through the center of the body to the waltz dance
And the movement of the legs, hips and shoulders and arms to reach the time of swinging. The body turn moves through the center of the body to the legs, hips, shoulders and arms to achieve the time movement skills, to complete the light and elegant and dynamic type of dance. Dancers will think that the logic of the upper body is not moving is a good phenomenon, but the limbs are free, cooperation and coordination between dance partners is not to be bound, the body turn action can make the muscles of the limbs can produce the effect of relaxation, so the swing must be made before the body turn action of the preparatory work; double knee bends loosely, from the legs above the body slightly forward to support, shoulders relaxed and flat, the back and waist a little bit of support, the body gravity placed in the palms of the hands. When you start to move, the turn referred to in the dance is the turn between the feet, not the turn of the body, especially for women, who almost only move forward and backward, and the turn is completed by all men.
Edit Standard jumps
Standard jumps are jumps practiced for competitive waltz competitions and performances, and must be strictly Waltz Dance
followed by norms. These norms are: the flow must be strictly in accordance with the orientation of the dance line; the start of the waltz should be from the oblique wall position: the three spins should be not less than 270 degrees; the design and choreography of the movement should take into account the feasibility of the orientation; the degree of foot movement and the form of the norms (refers to the advancement of should be heel-first, the retreat should be toe-first, as well as merging, open, locking, brushing, the slide of the accurate degree and the state of uprightness, etc.); The accuracy and artistry of the standard grip and dance posture modeling; the stability of the center of gravity alternation process and the accuracy of the timing, and so on. These requirements, of course, we can not be achieved in one morning, but as long as we persist in practicing, it will be accomplished.
Condra Exchange
Men enter left, women exit right. There is a side body and C, B, M, P. Note that the male partner may not land with the front palm first. Slight left rotation of upper body. Both sides point in the same direction. The second foot is disturbed to the first foot and rises to the front palm, while both viewpoints are shifted to P.P through the upper arc movement, with a slight right rotation of the upper body. The body is held upward. Form P and P position, male into left, female into right. Take a forward dribbling step in the upward movement in an open form. Drop the heel at the last moment and move downward.
Sidewalk and slide step
Rhythmic expression one, two ta, three, where the second beat is a one-time parallel slide Waltz dance
Step. The first beat is in P.P, position male into right, female into left. The first half of the second beat the male left and female right move one step across into C.P, the second half of the beat the male right and female left slide feet together. Note that these two steps should maintain both an ascending stance and a smooth glide without jumping or breaking upside down. The third beat changes from C.P to P.P., while the male enters the left and the female enters the right. In the ascending movement the front palm carries the step in an open form, dropping the heel at the last moment and going downward.
O.P Pose Right Turn 90 Degrees
This is a variant form of the basic right 90-degree spin back. There is a crossover movement of the feet due to the change in body position. The rest of the requirements remain unchanged. On the outside right (O.P.) men enter right and women exit left. There is a sidestep and a C.B.M.P. A 90 degree right turn male crosses left and female crosses right, forming a C.L with a tilt. Both sides join feet. (Laws of rising and dribbling remain the same).
Backward staccato slip step
The rhythm is shown as one ta, two, three. The locking slip form begins to appear on the first beat. On the first half of the first beat the man steps back to the right and the woman enters to the left, with a tilt guided by the shoulder and developing towards O.P Waltz Dance
: the second half of the beat forms a 0.P position, with the man's left foot locking in front of his right foot and the woman's right foot locking behind her left foot. On the second beat male backs right, female enters left, changing to C.P position. Man backs left, woman enters right. Return to C.P position.
Heavy Tilt
The heavy tilt, which can also be translated as over-tilt, is what is known as a "downward sloping" dance position. In reality, the partner is not "down", but rather an over-expression of the body's longitudinal axis away from the vertical. It is important to understand this correctly, because the concept of "lower back" can easily lead to "out of shape" or distortion of the dance posture, resulting in the incorrect shape of the male partner's leaning over and the female partner's cervical spine, as shown in Figures 44 and 46. On the first or second beat of the first measure (depending on the pattern of the previous articulation step), form an open position with the male retreating to the left and the female advancing to the right, and then immediately begin a left rotation while shifting the center of gravity. Note that it is important to maintain both the open foot position and the C.P. body position as the rotation proceeds. The center point of the rotation is between the two people, so that the male partner does not become the axis, but rather the female partner is "thrown" over. The entire second measure should be in a soothing and uniform transitional movement, forming the shape appropriately. And make this movement and the third stanza a coherent one, without interruptive intervals. The third measure is in fact a Kondra exchange, with the difference that the male left foot and the female right foot no longer move in position, but are connected downwards by a sideways movement that creates a right-handed rotation of the body in accordance with the heavy beat of the music. It should be emphasized that wherever the re-tilt is used, it must be in the male partner's face-wall position, never in the face-center orientation, and it must be kept in the C.P Modern Waltz Quickstep
Open Natural Turn
This is a retrograde standard pirouette that begins in the reverse L.0.D orientation and ends in the tilt-wall position. The man retreats left, the woman enters right, and as the weight shifts to the forepaw, a 90-degree turn to the right is begun. Waltz Dance
Men cross right, women cross left. Begin a substantial right rotation in the face center position, keeping the left foot and the woman's right foot in an open shape that spreads horizontally during the rotation. The rotation is 180 degrees or more. Men drop left, women drop right and continue to hold right rotation. On the outside left (P.O.) male backs right, female enters left. With C.B.M.P. and tilt, begin to progress to a left turn back. Man advances left, woman retreats right and finishes in a left turn movement, changing to C.P position. Both parties rise in the side-by-side foot position.
The Together Feet Natural Turn
This is a special variation of the male partner's spinning with the eye of the foot". It is also to be used only in the male partner's reverse orientation. The male retreats to the left and the female advances to the right. The male brings his right foot together toward his left foot and rotates to the right with his heel; the female crosses to the left and brings her feet together in the rotation, but rotates with the ball of her foot. In the second half of the beat the male partner also shifts his weight to the balls of his feet, lifts his body up and his weight rises toward the P.P. In the P.P position the male advances to the left and the female to the right.
Textile Step
Textile Step is a structural way of interweaving and changing body positions, also translated as meandering step, many kinds of jumping methods, the one introduced here is one of them. Starting from the P.P. position, the man enters right, the woman enters left, and rotates to the left when the center of gravity shifts to the ball of the foot. Male advances left, female crosses right, forming the 0.P position. Male retreats right, female advances left. Continue forward (backward) movement in the 0.P position and maintain the rotational kinematics. Male retreats left, female advances right, in a C.B.M.P state in the left rotation law. Male retreats right, female advances left, progressing through C.P to P.P. In P.P position, male advances left, female advances right. Waltz Dance
The last bar picks up a 0.P right turn. Pay attention to the roundness and smoothness of the bit changes, do not make mechanical bit changes.
Electrical left turn
Man advances left, woman retreats right. When the man shifts his center of gravity to the ball of his foot, he begins to rotate the other foot in a back-and-forth open position. Male drops right, female drops left. The center of gravity rises and the other foot comes together in the air towards the heavy foot. In the P.P position male enters left. Female into right. Maintain rising stance and form open stance (degree of rotation can be determined), female rotates with heel.
Edit Self-entertainment Jumping Method
The self-entertainment jumping method of improvisation on the spot is based on the ability to improvise. In order to have the basic ability to "lead" and "follow" the dance by changing the position at will, we will start with the simplest hesitation step and practice changing the position in all directions.
Hesitation Step
Hesitation Step is also called Hesitatlon or Balance Step. It can be used as a special step for conversation, transitional change of movement or orientation, and for looking for a suitable position while hesitating in a crowded place. There are many variations of this dance step, including one-step hesitation, two-step hesitation and three-step hesitation. Let's take the three-step hesitation as an example. On the first beat, the man enters to the left and the woman retreats to the right. On the second and third beats, both sides tiptoe twice in the same place at the arrival position. The man goes right and then left, the woman goes left and then right. On the first beat of the next measure, the man retreats right and the woman enters left. On the second and third beats, both sides return to their original positions, tiptoeing in place two Here is the hesitation of backing into the left and backing into the right. Please practice the hesitation of retreating to the left and bursting into the right again, and think about the changes in the different positions.
Hesitation step all-around position change practice
First by the male partner to determine a fixed direction, to the coordinates - if you face the L.O.D. direction, then from the slanting wall position, along the counterclockwise direction, every 45 degrees as a point of orientation, to the face of the wall position to the end of the **** there are eight points, the eight points are identified as a kind of asana relationship. points are identified as the coordinates of forward or backward in a postural relationship. Starting from the starting point, each change with a hesitation step between the two points back and forth movement, which constitutes a "meter" shaped movement trajectory, in order to carry out postural changes in the forward and backward (or backward and forward) hesitation. Note that the change of position should be performed on the last two weak beats after returning to the starting point. Each hesitation (no matter in/out) follows the male-left-female-right start cycle. 1) in and out of left lateral position; 2) in and out of closed position; 3) in and out of right lateral position; 4) in and out of open position; 5) in and out of left lateral position; 6) in and out of closed position; 7) in and out of right lateral position; 8) in and out of open position (Figure 19). As you become proficient in the above exercises, your ability to adapt to positional changes will naturally rise to a new level. This exercise can also be used as a gimmick in its own right, and to enhance its interest, the 8th Hesitation can be slightly morphed into a single-pulled-handed turn forward with a non-standard grip. The man releases his right hand and uses his left hand to guide his female partner in a turn forward in the direction of the reverse open position. Male advances left, female advances right, and on the last two weak beats of the stomp male turns left, female turns right. The male releases his left hand and switches to a single pull with his right hand, guiding his female partner to turn and advance in the male left turn, female right turn rhythm that follows the previous measure. The man advances to the right, the woman to the left. The last two weak beats change position in the step to form a left lateral position. Repeat from the beginning of the connection.
Changes in the First Chain Step
The full range of exercises takes us to a new level. The variations and development of the Chain Step are the inevitable result of this progress. Chain step, as the name suggests, is the structure of the dance step is like a chain, each link is a serial copy of the previous link, interlocking, continuous development. Generally, chains have the same principle but different forms, and so do the variations of the chain step form. Presented here are just three common and simple variations. But with the ability to make these three foundational changes, further development is easy. The first chain step is a combination of the left and right lateral positions, also known as the cross step (Cross Step) commonly known as: "through the flowers". It is the originator of the chain change step. As long as you master the law of this change, other changes will be solved. The core of this change is Hesitation step, the first step should be big, and the last two steps should be light and floating. The positional transitions must be gliding and hovering into place in the last two steps. A common mistake is to ignore this hovering sense of gliding, forming a mechanical "change of position for the sake of change of position" lateral movement, which should be avoided or overcome with special attention in practice. In the first sub-section, the man advances to the left, the woman retreats to the right, and carries the step on the left lateral position. The figure shows a circling gliding movement in the last two beats. At the end of the music, the change of position should be essentially complete. In the second measure, the man advances to the right, the woman retreats to the left, dribbling on the right lateral position. The figure is a circling glissando on the last two beats. At the end of the music, the change of position should be almost complete. Cycle forward in this manner. The first chain step can also be run in a backward progressing form with male retiring and female advancing. However, it must be noted that the first step of male late left, female into the first step, should start from the right lateral position, but not in the left lateral position, for male back left female into the right transport step, mouth for this will go against the law of human body movement, give people the following coordinated and not a beautiful look and feel. Please keep this in mind and practice on your own.
The second chain step
The second chain step consists of the lateral and open positions. Forward movement is a combination of the left lateral and open positions; backward development is a combination of the right lateral and open positions. This is a law that cannot be violated; it cannot be varied. The second chain step of the forward movement is apt to form a kind of in-place advance and retreat of the male partner who is alone and busy in a blunder. This is because the male partner is not strong or capable of "leading the dance", and should be prevented in practice. The correct form of step development should be a circular curve movement along the direction of the program line. In the left lateral position, the man advances to the left and the woman retreats to the right, and the last two beats in the circling will develop the position to the open position. At the center of the loop, the man advances to the right and the woman advances to the left in open position. The last two beats are converted into a left lateral position in a circular exercise.
Variations of the Third Chain Step
The Third Chain Step is identical to the First Chain Step in terms of positional relationships, except that it is made more difficult by the fact that each measure undergoes a 180-degree turn in its own direction. The movement program is the first small section of the male into the female retreat; the second small section of the male retreat into the female. However, the direction of the total forward motion is not affected in any way. In the left lateral position the man advances to the left and the woman retreats to the right. Each of the last two beats turns sideways (180 degrees to the left) and transitions to the right lateral position. The diagram shows the form of the first beat. In the right lateral position, the man retreats to the right and the woman advances to the left. On the last two beats, each partner turns sideways (180 degrees from the right) and transitions to the left lateral position. The picture shows the pattern of the second beat.
Left and Right Axis Steps
The Axis Step is a rotational step, and its aesthetic interest lies in the large-scale rotation. The degree of rotation" can be determined by the ability of both parties of the **** dance, but it is best not to be less than 180 degrees. Because the rotation will cause insufficient "wrestling" tilt, not only to lose the aesthetic interest of this provision of the rotation, and the form is very elegant, beginners can start from 180 degrees, the strength of the stronger dancers, should be practiced in excess of the rotation. If you can exceed 360 degrees, it is better. The basic form of the axial rotation is characterized by backward movement, back to the left is to the right, back to the right is to the left. Right rotation is easier to master than left rotation, so it is best for beginners to start with right rotation. This rotation cannot be used consecutively in the waltz; it must be done in two axial rotations, plus a backward basic step to change over the feet. Male retreats left, female advances right. The inside right legs of both partners rest against each other to form the axis of rotation. Note that the male partner's left foot is slightly to the left in direction, and for the time being, do not rush to shift the center of gravity, resulting in a pattern that blocks the female partner's advancement. When shifting the center of gravity in the second half of the beat, the male partner's right foot, without the heel leaving the ground, swings the toes to the right side, and this action can be either in situ or in a moving state, at which point the spinning has already begun. After completing the 135-degree right rotation, the man falls to the right and the woman falls to the left. Note that the female partner must not think of "crossing" the male partner's right leg, but rather turn and land naturally in an open front-to-back pattern. Both partners keep their feet together as they continue to rotate, and continue to keep their center of gravity up (the man's left foot together with his right foot, and the woman's right foot together with her left foot). The left axis rotation is a symmetrical tautological repetition of the right axis rotation, and the main points of the method remain the same. Only according to the male left and female right starting habits, you must first make a basic step before you can proceed.
Opening position synchronization leads the female partner to a separate right rotation
In the state of opening position synchronization, whenever there is a moment when the man enters the left and the woman enters the right, the female partner can be led to jump out of such changes. The man steps out with his left foot while raising his left hand and pushing his right hand to create the momentum of the lead. The female partner is guided into a natural 360-degree rotation to the right and back. Note that the footwork should be in time with the beat and the rotation should be light and fluid. The male partner's left hand must lead upwards, not like pushing the mill like around the neck and turn. After the female partner has finished rotating, return to the open position synchronization of male into right and female into left. The above changes in the articulation of the dance steps can be completely arbitrary. As long as we understand the structure of each change and its laws, even if it is to carry out innovative actions, but also under will find it difficult, but there are two principles can not be violated: one is the alternation of footsteps can not be destroyed; the second is that we must take into account the smoothness of the articulation of the fluent and smooth. As long as you can follow these requirements to do, I believe you will be the best posture, appear in the ballroom.