Damn! My post got cut off. I always copy a post to my clipboard when posting a message, so hopefully it'll still be there when I get home. If not, I'll rewrite the last part. It was important, as I discussed the first two steps, the timing of the turn and gave one more extremely helpful exercise. Stay tuned and I'll finish later.
To understand the leading of a heel turn, it is best to first understand what it is you want the follower to do. This may sound self-evident and oversimplified, but when a leader is unsuccessful, a lack of complete understanding is usually the culprit. So I suggest exploring that on a deeper level in studio, keeping the following things in mind as you do:
With the heel turn, a "missed" lead typically results in a side step for the lady, so you're on to something when you question the difference in lead between a heel turn-based reverse (or natural) and an open reverse. The answer is in the distinction between those two movements. In any turning figure there is a balance between the progression of the body through space and the timing of the rotation; Changing that balance affects the outcome.
With no turn, leading and following is a fairly straightforward endeavor: You move off of a foot, and your partner should be inclined to do the same, in the same direction and with equal distance. Turn complicates things because the more of it you have, the more you and your partner's steps will differ in size and direction, assuming you intend to stay in the same position relative to one another (e.g. closed position). This can be illustrated in the extreme by standing in a wide closed facing position, and having the man turn around while standing on one spot. The lady is forced to walk or chasse around a circle whose radius is exactly the length of the distance between partners.
A good rudimentary exercise in understanding the leading of heel turns, as well as spot runs, standing spins, and other rotational movements, is to do just that: First, have the man stand on a spot with the lady dancing on a circle around him. Then switch roles, with the man dancing around the lady (turning in the same direction). Then practice transitioning from one to the other without stopping, having the man decide when to switch each time, and leading each switch. Start with the widest possible radius (i.e. greatest distance possible in a closed facing position, or even in an open facing position with two-hand hold). Then if you're successful, start shortening the distance. The shorter the distance, the more subtle the distinction becomes, and the more the difficulty increases as a result. Practice first at the distance that is 100 percent successful, then go just slightly beyond. If you find yourself confused and frustrated, you've pushed too far. Back off and pace yourself, and it will eventually get easier.
A second exercise would be one where, instead of having one partner at the exact center of a circle, you have both partners chasse around two wider, concentric circles, i.e. curving chasses. Here, both partners must continually shift weight from one foot to another, but one partner's steps will always be slightly wider than the other's. The amount of difference depends on the width of the circles. Start with a very wide circle, so that the difference is almost unnoticeable, and then spiral inward, noticing the increasing difference in size of your steps. At its extreme, it becomes the exercise above, where one partner is at the center, taking no steps at all. Like the above exercise, practice switching roles, with the man leading the change from inside to outside of turn, always turning the same direction.
When you become skilled at both of these exercises, you will begin to see more clearly how you can lead and follow turns -- not only what direction to turn, but also who is turning around whom, and how big those circles are. Or put another way, whether you want the lady to close her feet and remain at the exact center of the circle while you turn around her, or whether you want her to move with you on a wider circle that's only slightly smaller than your own.
Put into the context of the open reverse vs. the heel turn reverse: The second step is the moment where the two of you will be drawing that circle, and that is the moment when
Re: FUSION Posted by newsdiane 12/17/2014 9:43:00 PM
Oh, I hope the pain passes soon. Hang in there!
I assume you are planning on returning to dancing when you can. Did the doctor position your toe in a way to allow you to dance? What is the timetable he/she gave you for returning to the dance floor?
I saw another doctor yesterday who recommended I dance on my deteriorating foot for as long as I can. Eventually, I may need an artificial joint. But for now, I'm dancing with limited mobility.
I need some help! Talking about ballroom dances, I would like to know what do i have to do to make the woman understand that she has to do a heel turn instead of any side step. I mean, i can do reverse turn in english waltz or telemark.Whats the difference in leading? The lady has to know that she has to close feet to turn in heels instead of doind any side step. Can any help? Is it clear my question? Thanks in advance.
Make a routine of dancing for some time and increase it day by day it helps in increasing your confidence as well as in making stamina. My personal experience is that if you dance in front of mirror will helps in enhancing your confidence.
Yes, it's a very common preference. The problem with dancing 3 slows, as written in the syllabus, is that it leaves you dancing the following figures starting on counts 3,4 rather than 1,2. All subsequent "quick quicks" fall where there would normally be a "slow", and vice-versa. This may not be a problem for some people, but for many, it's contrary to their sensibility and is perceived as unmusical. The extra "slow" count at the end of the natural turn is a simple solution to the problem that is generally considered acceptable.
The mere fact that you are unsure and are asking for assurance to go ahead should tell you to listen to your gut feel. Instinct is seldomm wrong, you are aware of the flirting (so difficult not to in this arena with such close contact and feel-good hormones being produced. If you are someone special to him, trust me he WILL make the move. Resist the urge, enjoy and treasure the dance and time with him it is something so special in its own space - dont spoil what you currently do have ... trust me i know what you are feeling.
I have a show case in the spring and my dance partner and I are looking to do a West coast swing/Rumba mix. I'm having a hard time finding good contemporary songs that fit both dances. If any one has any suggestions I would greatly appreciate them! Thanks!
Maybe this is a musicality thing, but I recently saw a couple dance four slows at the end of a nat. turn. That was followed by a feather step. The third slow was a left foot brush to right foot (like a hesitation).
You need to ASK what your instructor wants you in. If your dancing American Smooth some instructors don't want to see bare arms. I know some that require you to wear opera length gloves, but they had better not bag or bunch. If you have gontlets with a finger loop made, again they had better fit tight enough around your upper arm so as not to slip down.