Phil. This was given to me just recently
Put a tie on. Place your arms across your chest . Palms towards you. finger tips touching. elbows up. See exactly where your upper arms are in relation to your body. Open your arms palms facing. but don't move the upper arms , they stay. Place the end of your tie in your right hand and keep it straight. That's where it stays. The lady can also wear a tie for this . The instructions are the same. Now dance around solo keeping that right hand with the tie still. Keep the tie straight One more thing . With your tie in its normal position. The ladies right side must never touch the tie.

Dear Rha, thanks for sharing your ideas which open my mind .
Accepting the great point that technique is in all things even within myself. I am practicing the follwing steps at my clinic :big top started from pp, -->pivot--> double reverse spin-->ronde---> check--->ronde...
I attempt to gain better vertical allignment , weight transfer ,balance and coordination through these steps. :)). A crazy beginer I am.

Dear Phil, I am trying all you said , I get a little bit more confident when synchronizing " separate ribcage from hip ( I do it via contracting my back muscle to let my spine lenghten in opposit way) with my scapulae are gently rotating outward, downard and my lower part of scaulae slightly toward the man , my elbows seems lighter.( I feel tow suportting points somewhere.).
I was taught to maitain strong muslce tension of my anterior abdominal wall and' mid-back" for good contact and nice side line . and "quiet " upper part. but I don't want to loose the compliance. How to train the mid part of body maintain proper tension and to have compliance needed ?
It seems suitable for the lady to do more hip ration than upper part in CBM. (My job is to keep my elbows in line , tightened to my body whenever, relaxed forearms and hands.) upper part body rotation is limited by the man in CBM.(

You want to keep hip, center, shoulders, and head aligned as if on a common axis, while free to rotate about that axis individually. As lady your alignment won't be perfectly straight, but it still needs to be consistent.

Rotationally, the area just below your shoulders will always be parallel to that area of your partner. Your hips may move together or in opposition. Your feet generally point in or against the direction of motion, or at a small angle to it for CBMP steps. And your head usually follows the angle of your feet - magnified a bit, but surprisingly close.

Very detailed description . Thanks.

I noted that the right time of passing free foot is at the moment I have the sense of my standing leg almost kneeling to the floor. As a beginner , I had ever been afraid of falling down and past my free leg too early : my standing foot has impaired function.

Yichen It sounds like you are slowing down as your weight is passing over the standing leg, sitting a little. Remember the more you bend the knee the more forward momentum you should have. Many beginners bend the knee more without using the extra compression to increase body flight. It's important for begginers to strenghen their anckles with exercise before attemting to lower as much as good dancers

Sorry Yichen I got the wrong forum. My past statement refers to the lowering action

Thanks for your good advice . Do I cactch your point if I said:
banding more knee creates bigger stride and extra foreward compression of standing knee and ankle generate stronger momentum to get body flight . ( Sorry , I used to recombine the old and new data.)

Yes,the more you bend the knee the longer the stride providing you use the correct lowering action. At full stride the knees should be close enough to gether to be able to move your weight easly back and forth from foot to foot. Remember the lowering action is (ball,knee,forward part of heal) We squeze the ankle between ball & knee,thats where the strong ankles come into play. As our knee starts bend forward the toe of the free foot sarts to move forward,the free foot is already moving before we kiss the floor with our heal. You have to do exercise to strengthen you ankles before you can become a good dancer.

Great thanks for your very detailed analysis about lower action which I need to bear in my mind as a guidance in my practice .
Last night , when I concentrated to squeezing my standing ankle and much more protrude my knees towards the vertual partner (they are bass in music. ) I felt lower weight center and more relaxed hip and knee joints and shoulders. I got better sense of that I am on the floor.
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