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footwork - heel lowering
Posted by ModernDancer
4/2/2006  8:05:00 PM
Hi Guys,
when does the heel lower or touch the floor for a fwd step with the left after a promenade position with rise (both feet)

thanks
Re: footwork - heel lowering
Posted by ModernDancer
4/2/2006  9:55:00 PM
the figure - left foot fwd into a side chasse

Re: footwork - heel lowering
Posted by Onlooker
4/3/2006  12:37:00 AM
Modern Dancer. I take it this Waltz. Open Telemark into a Progressive Chasse. Lower on the count of three with a TH. The more advanced dancer will say lower on the count of three and. Three (and ) being on the left foot for man from being all the way up to all the way down on that third beat.
If you go to the learning section on this site it is all there for you to see.
Re: footwork - heel lowering
Posted by phil.samways
4/3/2006  3:54:00 AM
Spot on. Same for coming out of a whisk into a chassis. You guys are probably aware of this, but it's important to keep the weight forward as the heel is lowered and not let it go back onto the heel
Re: footwork - heel lowering
Posted by suomynona
4/3/2006  5:03:00 AM
"Spot on. Same for coming out of a whisk into a chassis. You guys are probably aware of this, but it's important to keep the weight forward as the heel is lowered and not let it go back onto the heel"

The weight does need to pass through the heel, otherwise you've cheated the next step of its full foot action.

This would suggest that your weight can not actually be fully supported in the toe, otherwise it would have to move backwards. So it would appear the heel will lower very quickly (but still softly) as you arrive on the foot.
Re: footwork - heel lowering
Posted by phil.samways
4/3/2006  9:13:00 AM
I'll repeat part of my earlier comment:
It's important to keep the weight forward as the heel is lowered and not let it go back onto the heel.
Re: footwork - heel lowering
Posted by suomynona
4/3/2006  9:49:00 AM
"I'll repeat part of my earlier comment:
It's important to keep the weight forward as the heel is lowered and not let it go back onto the heel."

Phil, this is a common misunderstanding. Someone who does as you say will have danced the footwork "T" not the "TH" requested.

To dance "TH" your weight must go to your heel and stay in your heel until after the other foot has passed it to begin the next step.

To do this without moving the weight against the direction of travel requires that you have the heel on the ground before you arrive over the foot, which in turn means that you cannot allow your toe to support your entire static weight, but must basically let the foot collapse (in a controlled way) as it receives your weight.

Failing to get the weight into the heel is a classic problem...
Re: footwork - heel lowering
Posted by Onlooker
4/4/2006  2:03:00 AM
I hope we are still writting about the third beat of a progressive Chasse. As we lower so we Flex, (bend the knee ) taking the full weight onto a lowered heel.That does not mean our weight is over our heel. Now we are ready to rise at the end of Step One, which as it happens is beat one. As we should know our weight is never in any dance Latin or Ballroom, over our heels.
Re: footwork - heel lowering
Posted by suomynona
4/4/2006  4:47:00 AM
"As we should know our weight is never in any dance Latin or Ballroom, over our heels. "

It certainly is for part of every step action that includes the heel. HT - weight passes through the heel. TH continued backwards - weight passes through the heel. TH continued forwards - weight dwells in the heel until the other foot passes. TH continued sideways, NFR - weight passes back to the heel and then forward again. Heel turn - weight goes back to one heel, forward from the other. And on and on.

Re: footwork - heel lowering
Posted by suomynona
4/4/2006  4:56:00 AM
In most of the cases listed above, not only is the center of pressure in the heel, but the actual physical location of the body's center of mass passes over the heel. It does not stay there - but then it doesn't tend to stay over the toe either, as in the body flight dances it is in almost constant motion outside of waltz-type closures and hesitations.

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