To the official poster. I've been a Fred Astaire student for a couple of years now and I sometimes wonder why I'm still there. I guess I don't have the guts to move on. I totally see what you're talking about when it comes to concerns basically being ignored by management. I sometimes even wonder if they gossip about me or any other student which is something else that you brought up. For some reason, my instincts are saying that they are. I'm not going to go any further in explaining my situation since I know what I should do to make things better and I can't find the nerve to do it so I only have myself to blame.
I usually dance with one partner (who I happen also to be married to). But at dances there are often "mixers," and I enjoy the opportunity to dance with several partners, trying to determine each partner's skill level and dance accordingly so that we both have fun. I understand why some people resist dancing with other partners. I was that way, when I was much less experienced than I am now. I changed my outlook--gradually.
In a studio in a class I would expect to change partners. One way is for all the ladies to be seated after each dance and the gents to pick a partner in strict rotation the lady in the first seat being number one. In a Dance not a class. If you want to mix people up. Have a Ladies or Gents invitation. Or an excuse me dance anybody can cut in by tapping on the shoulder. Or another way is have one couple on the floor as the music stops they will pick a new partner which means the number will double every time the music is stopped.
This is a good topic. Where I take my lessons, they have a rule that people should switch partners for every dance at parties. Not everybody is comfortable with that. I do understand the reason for the rule though.
I was wondering WHY do costs pertaining to ballroom have to be wrapped up in secrets? Cost of dance heats, the costs of the comp.?
West Cost Swing competitions - everything is posted on the web page as to costs.
Swing Out competitions - everything is posted on the web page as to costs.
Country Western competitions - everything is posted on the web page as to costs.
East Coast Swing Competitions - everything is posted on the web page as to cost.
It sure makes ballroom look really shady with instructors who mark up packages! Instructors you have your day fees that you charge. You have your per dance heat fees. You get cash awards for top teachers. You get cash awards for top studio.
It sure feels like the student is getting drained of as much cash as possible.
The band will need more than just a list of songs. Tempo is also important--very important. If they play a wonderful song too fast or too slow, dancers will have a hard time. You can find information on dance tempos on the internet; years ago a band leader who is also a dancer wrote a short "book" for other band leaders explaining this point.
Good afternoon I was wondering if you could send me through a list of modern songs that can be use for ballroom dance. We are holding a ball in our local town, we have a band and need to get them a list as they are a young band and not sure on what music.
I am going to be selling this amazing custom orange beaded dress. Size: small-medium Color: orange with orange stones ( Swarovski and AB stones) - it also has fringe and an open back as well as beads overlapping the fringe. -this dress is long sleeve and has crystals on the mesh sleeves.
The question was . Can we do a 4-6 of a Reverse Turn after the Natural Spin Turn in Quickstep like in the Waltz. 4-6 like in the Waltz would have to be completely flat S.Q.Q. Might as well do a Heel Pull. Could do a Slip Pivot instead. In either case we are introducing another figure after the Spin Turn to do the Chasse Reverse Turn. I think we would find that a Slip Pivot would be more spectacular and in keeping with the Quickstep to keep it moving.
Another year down the track and I am happy to report that the problem with the soreness in the adjacent Interphalangeal joint of my big toe is much, much better! However the down side is that with the improved mobility, the big toe on the other side is becoming increasingly displaced and the midfoot and arch has just recently started becoming quite painful. My husband and I are doing a 7 week trip to Europe in May this year, so I really hope that it doesn't get any worse quickly.
On the topic of footwear - my go to everyday summer sandals are Finn Comforts and Vionic Orthaheel flip flops. I wear Camper sandals (with a stiff sole and lace up tops) and Gabor sandals with a wedge for something more dressy. Having said that - I find summer much harder to deal with footwear wise than winter, where I can hide my feet in supportive shoes and boots. The fused toe foot is also a different shape to the other one (due to the surgical shortening of the metatarsal for the fusion) so strappy sandals look pretty ordinary and only come out for the warmest days!
I've come to the conclusion a lot of post op issues for me were related to nearby joints, tendons and muscles adjusting to increased workload after an MTPJ Fusion. Ever since the surgery I've been having hour long remedial massages monthly and my therapist always spends a good deal of the appointment working on my IP toe joint, heel area and achilles - I call it 'preventive maintenance'.
Of course "4 - 6 of Rev. Turn" is possible. In former technique it was the second half of the Quarter Turn including man's "Heel Pivot", for less advanced dancers changed to a "Waltz step" as described above. We could call it "Chasse Rev. Turn" (ISTD "Moore"-Ballroom Techn.) with man doing lady's steps and lady doing man's steps. It is important that the man is leading this "side - close" different to a Progressive Chasse: - He does a very small side step - Has no "body turns less" at the closing - lowers e/o 3 to start the following part with heel and CBM (I say "kind of Tango-Feeling" - nearly CBMP) so that his left leg is very close to the outside of lady's right leg as the 1st step of the following figure. So overall he has to stop lady's progression.
The Bolero. A piece of music composed by Ravel in 1928 commissioned by a Russian Ida Rubinstein actress and dancer for a Ballet. It seems it was a solo dance at that time . Some credit for its popularity must go to film actors George Raft and Carol Lombard who in a 1934 danced the Bolero in a film of the same name. Look it up.There is a film clip which can be seen. For the records . There was already a Spanish dance called the Bolero. Its interesting to note that most of the demonstrations take place on a large round table or stage, which points that in a market place a crowd always form a circle never a square. Even in the George Raft film they are on a circular stage possibly to stay with tradition.