On 16/7, 17/7, I concentrated on how the foreigns competitors walked forward. I appreciated all of them , particularly the compitetor from Finland ( top 12 in the world < 21 years of age), He transit his body weigh so great. A Chinese top compitetor told me that Chinese musles can't break out a force when needed. But the black people does. He might be right . But I believ the right training can improve the performance . Chinese dancers , including him, who have the opportunities to be trained in England or Italy several months yearly, went well and quickly .
How do you walk forward and backward ?

It has nothing to do with ethnicity, only with who you study with.

I believe that talents ( such as Marcus, Luca, Mirco... They studied with experts and developed their own styles , ) exist but less than 3%. the some 90% of remainders are the main resources of the tops. Good training and hard practicing and open mind are the key factors to go fast in this long journey.
My coach emphasized the coordination can not be taught and learnt , it is just natural. I don't think so. We can find the way via learning and hard practicing. A good teacher can explain it with clear words and provide a series of exercises to help the student going quicker.
I have to improve myself from trying to find out the reasonable TH timimg . I selected the man's three step and lady's feather step to control the timing of TH.
Being aware of where my center weight is moving ,I tried to prolong the time pressing my BT to send my heel further ahead followed by active quicker patella toward the lowering BT...

Yichen-1. That sounds complicated to me. I have been told that I have a smooth foxtrot with good timing. To me the secret of dancing the basic foxtrot is to concentate on moving the body at one speed, like putting the car into cruise control when driving on the hyway. I also feel that my legs are swinging at one speed( notice that I said feel,not are,who knows I don't care.) The point is to forget what the feet are doing and simply move the body the way you walk. If you can walk gracefully you can dance gracefully. Of cause the problem for begginers is to do this on time, for me, its more important when learning the foxtrot to keep moving at one speed even if you dance off time, you will eventually fall into the rhyme.

I would agree. Beginners who manage to dance international foxtrot on time are often using all sort of improper posture tricks to control their step speed, habits which will have to be unlearned later. To actually dance on time requires creating an elegant drift through the final quick of the previous figure, which soaks up a lot of time. Then by the time you start the initial slow your body will have to move quite fast to catch the music, giving you freedom to really cruise through that fast part of the swing - this totally eliminates the common problem of rushing the slow. But beginners don't have the foot or body core strength to create a sustained drift with pleasing body lines, so the only way they can stay on time is to artifically hold themselves back in the slow by leaving their weight behind.

Dear Anomynous,
You mentioned about the body core strength enough to create a sustanined drift with pleasing body lines.
I am struggling in two demands: (1)my coach pressed my lumbar and thoracis spine forward ( I have normal curve of spine ), pressed down my pelvis for solid ankles and anterior thighs bearing , with up leftset head without involve breathing and flexiblity, ( but I appeared stiff in following , I think it is my fault , proper extending of spine is good for dance , I have too much worry to the unknown steps when following, ( other coaches will let the studnet to familiar with the steps first then following, finally dance with music. My coach seldom did that. even in qucikstep . He said no music no dance . I have a little bit nervous as a begginer who has no previous training or idea about dance.When he stayed in mainland, I tried to find the similar steps on the vedios , but it helped less .); (2)an Italian competitor ( Loris ) told me to have opposite idea. he said :you are a fish, relax every part of you . show your music rhythm with your knee, now care my knee rhythm. He mastered his muscles greatly, I tried my best to follow him from my ankles to my head in foxtrot. The feeling is very good also: body flight , of cours , sometimes I moved wobbly

How to combind these points of view ?

My coach has remarkable progress in dance resulting from that he has been being kept learning from the tops of the world and adjust himself hardly.
He updates himself and me. Sometimes I thought he is quite unlucky to have a stupit student like me when I saw his unsatisfied looking. I believe all my dreams might relate to dance if I had. I woke up to dance in my bed room with the idea just rushed into my mind in midnight.

I was taught the basic walks for both standard and latin in parallel with but seperately from learning something about the dances, so it was several months before I started to understand how the basic walk fit into dancing the foxtrot or rumba with a partner, and probably over a year before I understood how aspects of the walk like toe releases fit into a more complicated dance like waltz.

So perhaps for now you can work on the walk as an exercise with perfect posture and footwork, and work on your dancing as dancing with attention to your partner/teacher, and have confidence that you will start to be able to put them together some months into the future.

Taking posture, the first challenge is to be perfectly vertical over your foot while doing the basic walk without embellishment. Once you can do that, you can start to experiment in front of the mirror to see what you have to do to maintain the body line as your feet launch you up into a swing, such as for waltz. And then you can start to experiment and find out what kind of core tone it takes to swing towards step two, but then drift over the foot into an outside partner step three (ie, a feather), with only a gentle head to toe curve, but not breaking of the body line.

Good Advice. I wish I could have put it so well. Doug

Dear Anomynous,
Thanks for your very good advices .
I need time to think, practice and master them step by step. I desire to have the sense of drifting over the feet.

I tried absolutely concentrate on "constant" speed of body flowing on the floor of my clinic for 40 miniutes. Supprisingly I found it worked regardless what figure I was doing . The extra benefit was that I obtained wonderful body weight transferring ,and a feeling of kissing floor , even in steps of feather finish , or curve feather. ( Before , I was too concentrated on LF HT (S )with adhering body weight on it -> midway, then to RF T (q )... Now , on this known basic, to mind where my body moving through at one speed. )
I am too impatient to wait for dancing with music tonigt. I think I have 80% of chance dancing with music rhythm as the dance becomes more natural and easier sharing your key point.
10 years ago, we drove from Vancouver to Rosarito ( Mexico), I set speed of 120KM/H on the hyway, I had to hold ice blocks in my mouth throughout the journey, very sleepy ! I remembered I had ever a strong impression of smooth continuous moving when my coach's former partner danced foxtrot with another tall coach. I fixed stupidly my eyes on theri feet all time but no idea of that it is becuase of body moving at one speed created by the tall coach. Thanks!!!