The difference in frame for Latin. a straight spine in all dances is a must.
Thats where the similarities end. In Latin the feet are turned out. In Modern they must be pointing the same way.In Latin the lower body is isolated from the upper. You should be able to keep the upper body relitively still whilst the hips go through what is called a Latin Motion. This can be, and is mostly like taking the hips through a figure eight or the infinity sign The reason a Tango is not classed as a Latin dance is it has no Latin motion. In Modern we would never get what is called a Latin hip which is if you stood at a bus stop with a small child and placed them on your hip, one leg would bear all the weight and the other would be out to the side a little. Jive is different as is Paso Doble. In the Jive there is a slight lean towards the partner creating what is called an A Frame. The arms complete the frame at waist level. The heads are closer together than in any other dance. If you have ever seen the for runner to Jive the Jitterbug. The body at the waist level was completely forward. Have fun.

"The difference in frame for Latin. a straight spine in all dances is a must.
Thats where the similarities end."

There's a ton of obvious similarities you are overlooking...

"In Latin the feet are turned out."

Yes, that's a keep component of the FRAME?

According to Slavik and Katarina on their disk. What happens if the feet are not turned out in the Rumba or Cha as is being discussed two postings above.

Still trying to figure out what part of the frame Quickstep thinks the feet are in.

Jonathan

Jonathon.I beleive the frame starts at the feet and has a strong influence to the way we will stand. If I stand one foot in front of the other, in this case the left, with my feet straight as in ballroom. And then turn the heels in which turns the toes out. If I put my feet together heel to heel my left foot should be pointing to 11 and my right to 1 on a clock face. Failure to do this will result in a gap between the thighs. All spoken about by Katarina. Espen Salsburg at Ray River's studio spent some time during the lecture on his knees adjusting the feet. Toni was there also, this was some years ago. You should have heard Wally Lairds remark's about a gap between the thighs, as related by Hazel Fletcher. Allan said he had a way with words. The other thing nobody has mentioned is the shoes which puts the mans weight over the balls of the feet. That's a Cuban Heel which is higher than a ballroom shoe. Both Fletcher and Espen started at the feet. Then worked there way up. Somebody told me that if I dont put the correct priming paint on a piece of wood everything that goes on top will be a falure.You know all of this but for anybody reading I went into a bit of detail. Great Site !!!.

Thank you all for posting, though we all got off track. I understand the feet, as well as latin motion and how it is created. My only true question is soley on the frame differences between American Latin and International Latin. In American, I (leader) am used to having my left arm almost at a 90 degree angle with my hand roughly at her cheek bone level. What I have seen in International is what appears to be the exact same frame use in smooth dances such as the Foxtrot. Is that correct or is it just a personal preferance of that studio owner?

"Latin. In American, I (leader) am used to having my left arm almost at a 90 degree angle with my hand roughly at her cheek bone level. What I have seen in International is what appears to be the exact same frame use in smooth dances such as the Foxtrot. Is that correct or is it just a personal preferance of that studio owner?"

It should not be identical to the smooth frame given the lack of offset and changes that will cause, but there are a lot of similarities.

Could you describe the specific difference between what you do for rhythm and what you are being taught for latin?

The primary differences I see are as follows:

In American Rhythm, I was taught to step onto a bent knee to create my full Latin motion
At the new studio, they step onto a straight knee. It makes it wierd to dance rumba together.

In Amer. Rhythm, we keep our left arm at roughly a 90 degree angle and our right arm wrapped snuggly to her shoulder blade.
At the new studio, the left arm is held in the same angle as smooth dances, and her left arm is set on the mans deltoid muscle just like in smooth dances.

Also, I noticed last time that their swing and Jive has the same frame in closed position as the rest of their dances. I was always taught that in Swing, you should be in a semi-promenade position and the mans left hand should be holding her right at roughly her waist level.

"In Amer. Rhythm, we keep our left arm at roughly a 90 degree angle and our right arm wrapped snuggly to her shoulder blade.
At the new studio, the left arm is held in the same angle as smooth dances"

Which would be what? If you ask us to call into question what you are being taught, we can't very well compare it to something else you are being taught based on an assumption that you are being taught the other thing right, we need the details of what is different about your left arm between rhythm and this teachers idea of latin.

"and her left arm is set on the mans deltoid muscle just like in smooth dances."

Most would probably want it more around the outside for latin.

Most of the work in latin over the next several years would be in the center and below, often in a one hand open hold or not even with a partner. And if you watch competition, you'll find a strict hold is rare. So I wouldn't get that worried about this, but would make decisions on the coverage of the other technical issues.

In standard styles, feet may have different angle also. such as natural turn 123 in lady , left foot backs, backing DW, left foot forward pointing LOD or DC, feet together parallel on 3.
And , we have toe in , toe out ...
Tony Burns preferred standard hold in Latin closed position ...
Yes, it depends on the coach or teacher.
Sorry, I am not good in English, I did not understnad " a full frame is not seen that much at advanced levels." I thought full frame = big volume and beautiful frame . Correct me, if I was wrong.


I experienced wonderful man's frame while I danced with top dancers . They all have huge , almost round , natural ( not rigid) and stable frame ( no shoulder stuck in/ out or droping etc )throughout the dances . Advanced male dancers must lead great , They did not stress lady, always gave you clear signals with their body ( hip, torso , knee ) in good timing . I enjoyed such freedom .