Dance posture and dance steps: to tighten the abdomen, chest, hips back stretching, upper body forward, dribbling in the knee bending to lift the leg, the foot should be straightened after the foot landing, dribbling in the forefoot (not on the heel).
The stance is to lift the leg not too high, when moving forward, the toes of the foot slightly rubbing the ground, then the palm of the foot to the ground, then the heel to the ground, the knee straightens immediately after the heel falls to the ground; the whole body is leaning forward, as if it is being pushed forward. When going backward, the toes rub the ground gently and go backward; when landing, the feet land first, then the heels; the knees straighten immediately after the heels land, and the body still leans forward.
Hip movement: twisting across is a very beautiful and characteristic movement in rumba. It twists horizontally to the left front, left side, left back, right front, right side, right back
S
. When twisting across, the upper body should have the feeling of pulling and supporting, not sitting on the hips. After every foot drop there is a crotch movement, or crotch first and then move the leg. It can be said that from the beginning to the end of the dance, the twisting and straddling movement is always continuous.
Music rhythm: 4/4 beat music (28-31 bars per minute) is used. The tempo is slow and the rhythm is smooth. The tune is lyrical and lingering, and slightly melancholic.
Pom
. Chop
Chop
Pong
Pong
Pong
The dance beat is Q
Q
S
, which is fast
quick
slow, and completes the three steps with 4 beats of music.
The rumba has a very important feature: the hips come out first, then the steps. This creates a kind of crossover between the beat of the steps and the rhythm of the music. Therefore, when you dance rumba, you should learn the first beat of the music out of the hips, the second beat out of the step. You can count 2,3,4,1 when counting the beats.
Footwork and hip movement: the second half of each step must be accompanied by a twisting movement of the hips, so the decomposition of the movement is:
1
2
3
4
Out of the right hips
Left foot in
Out of the left hips
Right foot In
Out of Right Hip
Left Foot In
Out of Left Hip
5
6
7
8
Out of Left Hip
Right Foot In
Out of Right Hip
Left Foot In
Out of Left Hip
Right Foot In
Out of the right hip
The footwork and hip movements should be coordinated throughout. The twisting motion should be done softly (not like disco dancing), from the left front to the left back, and then from the right front to the right back.
The action of hand-pulling: the left hand of the male partner in the left side of the waist, flexed arm outreach, palm up, holding the right hand of the female partner's outer edge, the female partner's right hand in the right side of the waist, flexed arm outreach, palm down, and the male partner's left hand to hold.
The outside hand (male right hand, female left hand) is extended outward, at shoulder level, (may be slightly higher by 45`), with the arm slightly flexed, palm facing either down or forward.
Standing posture: no matter what dance posture, always take the position of side point step when standing.
Leading: when the male partner leads the female partner to dance, it is more with the induction of breath, the arm is naturally drawn along with the swing of the body, up and down, left and right to change the position, the female partner will be able to comprehend the changes in the dance steps, do not push or pull too much.
Three key points of Rumba dance
1. Music
The most important & is 3& in Rumba. It is important to lengthen this half-beat in particular, emphasizing the turn of the hips and then moving quickly into place on 4 to create contrast.
Take the kuklacha as an example. 2&3 should be rounded and smooth, appropriately shortened, followed by & to be lengthened. 4 on the power of twisting the hips to swish and merge the feet, without dropping the heel.
2. Speed
Speed comes from the release of energy, so the key is how to accumulate energy in the previous step.
Take the lady's sliding door step as an example. 2 right foot back, 3 back to left foot, 4 left front delay
walk. twist your hips backward on 3&, extend this &, release energy on 4, and get to the position of delay
walk very quickly.
Also, after the 4delay
walk, straighten your right leg on 1 and shift your weight to your right foot. This is not a step forward, but again, movement is necessary to straighten the leg to the correct body position.
The same is true for the delay
walk in the Ladies' Closed Hip Twist.
3. Leading and following
This teacher emphasized that the lady should follow the man, not the music. He says the
lady
takes
audience,
and
the
man
takes
trophy (the lady conquers the audience, the man wins the trophy).
Take leaving the end of the fan step as an example. The man makes a check at the beginning of the 2 and the lady has to join her feet at the end of the 2 (just like the 4 in the kuklacha). This delay allows the audience to see and feel the connection between the two.
Also the 3& that follows must be done in full. If the man doesn't extend the 3&, the woman doesn't have a chance to perform the music at all