ANON YOU NEED TO QUIT COMING ON THIS WEBSITE AND BEING ROOD AND MEAN TO ALL THE PEOPLE WHO HAVE TALENT AND JUST BECAUSE U SPEND YOUR LIFE IN AN ENGLISH BOOK U ARE UNTALENTED AND U DONT NEED TO COME ON THIS WEBSITE AND BE ROOD AND DISREPECTFUL AND U DONT KNOW HOW IT FEELS TO BE DEPRSSED OR DREADING SOMEONE BECAUSE NOBODY LIKE YOU U JUST GOT TOLD FROM US TALENETD GIRLS TGWATADLA WHAT WHAT IT MEANS WELL A IN ANON

u mean RUDE

Anonymous . Has previously said. My aim is to establish sufficient doubt in the minds of other dancers, who seriously want to improve.
Rha said.
We both agree that the centre of weight is over the standing leg.
Your answer. No we don't because it isn't. One must not make the mistake of leaving the centre of our weight over the standing foot.
Me. What do you think we are doing here. Playing statues.
You said. I maintain that split weight people over use their muscles in the arriving leg and has not yet learn't the Free Falling Phrase.
Quickstep asked. If you turned yourself around and did the ladies steps. Have you thought what would happen to the lady when you thrust yourself to the point of imbalance.
You said. Not only that I insist on it.
Me rubbish.
You . Actually the best dancers have both feet on the floor and stationary for suprisingly long periods. But that doesn't mean bearing weight. You have never studied with someone who truely knows.
Me Which means you have.
Me . More rubbish. And it sounds like a contadiction.
You. From a word to word copy from the Technique book on the correct footwork on a Backward Walk. you said . Very curious what kind of step are you dancing here.
Me . If you don't know I feel sorry for you.
You. And you can learn to dance under your feet and swing below the level of the boards.
Me. More unnecessary garbage.
You. Said that the administrator doesn't do the second step of the Feather correctly. He doesn't look and see how the motion dies late in the step. Then you had the audacity to say it , the video has been altered.
Me. On the next one this is where you started to alter.
Asked. Do you beieve the weight cannot be equally distributed between the two feet .
You. No I have said many times it can, but is a mistake to do so.
You. In answer to another question. I aim my movement not to fall on her.
You. A Backward lowering step TH must become flat before the parting foot retracts.
Me. Anybody can see from the above that there is a vain attempt to defend those ridiculouse statments that the Body never gets to a Midway Position. That the body tavells in front of the legs. On a Backward Walk the Heel lowers before the front foot retracts. That means comes alongside.
It might be more clear why I did a scathing attack on Anonymous. I couldn't find the peice where he said to one. That there knowledge was limited and that they should find a better teacher. ( or words to that effect ).
The moral behind this is. If you live in a glass house you don't throw stones.

Given the litany of history, I assume you learned nothing from those converstations. Quite a pity... as a lot of the stuff you are trying to call outrageous is basic, fundamental techinque of which you are so far unaware.

Anonymous. There are people who wrestle with everything they do, instead of doing what comes naturally. We are born with certain natural abilities, its in our genes. One is for balance, our feet have the natural ability to travell faster than our body. Having said that hold onto the edge of a table , chair or whatever. Side on from a feet together position . Swing the leg forward moving onto it. The heel will be skimming the floor untill it is straight and you are on the heel of the front foot and the toe of the back foot. This is just a walk forward which we do every day. Dancing is only an exaggerated walk.We haven't finished yet though. The rear foot has to be taken to the tip of your toe, so it continues to move untill it is there. The front foot has lowered at this time. This is sending our weight forward. As it arrives the front knee bends and cushions our arrival.. Don't be in too much of a hurry to bring the rear foot into a nuetral position. All the time this is done it is a good idea to study exactly what is happening. That's why it should be done as slow as possible. With the stored up energy that has been stored up by the bending knee of our now standing foot.. We can now use that energy to drive forward or if you like backward.
All that writting above to explain what everybody can already do without being told. If you are wondering . The rear foot will arrive alongside the front foot on an ( and ) count, like one and.
One more thing. I met somebody who thought that in the Waltz the beats were some slower than others. They are not . Any dance music the beats never alter. 1 2 3. Have fun everybody.

"Anonymous. There are people who wrestle with everything they do, instead of doing what comes naturally. We are born with certain natural abilities, its in our genes. One is for balance, our feet have the natural ability to travell faster than our body. Having said that hold onto the edge of a table , chair or whatever. Side on from a feet together position . Swing the leg forward moving onto it. The heel will be skimming the floor untill it is straight and you are on the heel of the front foot and the toe of the back foot. This is just a walk forward which we do every day."

If you are walking naturally, before this midpoint you will pass through a phase where your body is ahead of your standing foot. During that time you are OFF BALANCE. Of course you don't feel that way, because nothing alarming happens and you have been doing it almost all your life. But take a picture just before the moving foot is placed, and there can be no denying that the body is forward of the standing foot.

As for the question of if you ever have weight in both feet at once, I say it depends on the dynamics of your walk. I prefer not to in a full dance action, but in something slightly smaller and danced for determined precision rather than effortless float, it would occur.

"The rear foot has to be taken to the tip of your toe, so it continues to move untill it is there."

That depends entirley on the size of the step. I think you will find that in actual dancing, as in actual walking down the street you probably will not be moving the body enough to make a complete follow through approriate. Practice it as an exercise but realize that the exercise exaggerates what is neede for the amount of body movement most people will produce. Just as with the pre-extension of the tip of the toe of a backward foot, if you try to put an isolated exercise quanitity into dancing, you will be doing something quite un-natural. Natural proportions please... unless you want to look ungaingly.

"Don't be in too much of a hurry to bring the rear foot into a nuetral position."

Indeed, modern highly dynamic dancing with deep lowering in the knees requires substantially delaying the closing of the departed foot. Leave it in place as long as you can, stretching the hip. Especially in promeande type actions.

"All the time this is done it is a good idea to study exactly what is happening. That's why it should be done as slow as possible."

A good idea - but the problem is that because of the natural phases of the action where the body is not located over its supporting foot, you cannot slow the action down without changing it. You can dance some related things slowly, and that is a useful exercise. And you can take a videotape of normal speed, flighted dancing and slow that down. But you cannot slow your body down below tempo, without having to keep your body back over your standing foot in a way that would kill the natural flow of the dance.

"With the stored up energy that has been stored up by the bending knee of our now standing foot.."

You can't store energy in a bent knee, it's a really terrible spring. And if you dance it under tempo, you could store less energy than even the tiny amount you could store at normal tempo.

"We can now use that energy to drive forward or if you like backward."

You want to take the potential energy that you had in the rise and convert it to movement, yes, but you have to do it direclty - you can't store it in knee compression, because there is not nearly enough spring in the human body. Also, storing it in knee compression would require a vertical lowering, which would cause your knees to interfere with your partner. Lower out the foot rise more or less vertically, but as soon as your knee bends, you should be thinking about converting the rest of hte lowering directly to travel.

Yes, there is a brief role for compression towards your partner, to establish a connection to them which you can then use to suck their body along with you. But it is a brief role, and it's purpose is connection, not energy storage. Too much of this very good but very small thing will totally kill the elegance of your dancing.

Moving away from the standing foot too soon, and moving away from it too late are both intolerable errors.

"I met somebody who thought that in the Waltz the beats were some slower than others. They are not . Any dance music the beats never alter. 1 2 3. Have fun everybody."

You've never played in an orchestra, obviously...

Of course if you were meaning to suggest trying it slowly while holding onto the table or the chair, or I think it was Don who said an open door frame, that would of course work, and let you figure out the full action, with its unbalanced phases in addition to its balanced ones.

Anonymous. The reason for holding onto the edge of a table is to allow you to do it as slow as you wish. Which brings us to a little story that Alen Fletcher told us. In Tokyo the Karate master put this student into a fighting pose and said stay there till I get back in about two hours. We do that on a Rumba Walk, stay there and analyse, not for two hours though.
Please don't argue that the beats in a Modern Waltz or any dance music is not spaced equally apart just like a megaton. How we use those beats is something else. If you can point me in the direction of a disk that does alter. It is not dance music.That really was a stupid thing to say. If the beats weren't exactly regular you wouldn't know where the beats were going to be.
Sorry to keep pulling you up but sometimes you come out with things that you know nothing about. I too played the triangle at school.
I attend this technique class every week, in fact two different technique classes in two different studios. In both the Modern and the Latin we are repeatedly instructed to go all the way to the tip of the toe on the rear foot.Modern the feet are straight, Latin they are turned out.
The more the knee is bent the more energy is stored. Just like a peice of elastic, the more it is compressed , twisted, the more energy there is to use.
After writting that I realise why you insists on the weight toppling forward. Your trying to find movement by throwing your body forward instead of through the compressed knees. Why do you think we bend the knees. Is this just for excercise.How does a high jumper get off the floor.
Anyway put the specs on and look in slow motion. And then tell us where we should be looking for a tape instruction or competition where the body gets in front of the feet. Over the feet in a nuetral position yes, in front no. In front would mean your body is on an incline your head would be the farthest thing forward, just like somebody had there feet trapped.

"In Tokyo the Karate master put this student into a fighting pose and said stay there till I get back in about two hours. We do that on a Rumba Walk, stay there and analyse, not for two hours though."

Shure - and I'll do that in a position that should be balanced, such as an open telemark before the exit in promenade. But not in a position that should not be balanced.

"Please don't argue that the beats in a Modern Waltz or any dance music is not spaced equally apart just like a megaton."

Well it's not... don't try to lecture a musician on music, please.

"How we use those beats is something else."

You don't use them evenly either.

"It is not dance music."

Are you used to listening to that guy and his synethizer, instead of real orchestras?

"That really was a stupid thing to say. If the beats weren't exactly regular you wouldn't know where the beats were going to be."

Sure you would - because the are predictable, despite being uneven. And even when they are not the same in every measure, those changes are all prefaced by development of the musical impetus, in ways that you can learn to anticipate when you have experience in listening to music. Go talk to some swing dancers about hearing what is coming next in unfamiliar music, and you might learn some things that most ballroom people are ignorant about.

"In both the Modern and the Latin we are repeatedly instructed to go all the way to the tip of the toe on the rear foot."

Yes, but that is an exercise. If you look at the amount of movement you actually achieve when dancing, this would be way out of proportion to it. You see lots of dutiful students overextending their legs becuase they have literally applied the exercise, and forgotten that proportion is a much more fundamental lesson. It is good to know how the action will develop if you increase your movement, but more important when dancing with a partner (rather than practicing walks solo by the mirror) that you keep all components of your action in proportion to each other.

"The more the knee is bent the more energy is stored. Just like a peice of elastic, the more it is compressed , twisted, the more energy there is to use."

Please explain what in your knee is elastic. If you guessed the muscles, you would be wrong. If you guessed the tendons, you are in for a world of pain.

"After writting that I realise why you insists on the weight toppling forward."

Being sent, but NOT toppling. The body remains vertical even as it goes off balance. You have done this in almost every step you have taken since the age at which you learned to walk, but you object to it because you don't realize that outside of the un-natural habits of the dance studio, you are already doing it.

"Why do you think we bend the knees."

To convert potential energy directly to movement while sending the body forward or backward. There is no intermediate storage, because there is no body part sufficiently elastic to store the quantity of energy involved.

"How does a high jumper get off the floor."

Mostly their muscles. But they bounce up much faster than a dancer would, and the very poor springs in your leg work better the shorter the period of time for which they are asked to store energy. A very quick impulse can be partially recovered - but something as slow as a waltz lowering will see all the energy wasted as heat before you can recovery it. You must convert fall directly to travel if you hope for grace and efficiency.

"And then tell us where we should be looking for a tape instruction or competition where the body gets in front of the feet."

Learning center:forwardwalk:2:extension.

As I've been pointing out for weeks now, the body is ahead of its only supporting foot. This picture shows the moving leg too far forward for this point in the body and standing leg action, but keeping it and its weight back will actually reduce the degree to which you would be off balance at this point - though of course you would still be off balance.

"In front would mean your body is on an incline your head would be the farthest thing forward, just like somebody had there feet trapped."

No, the body would be vertical from the knees up, while the shins would be inclined forward from the standing foot to the position of the entire remainder of the body which is ahead of the standing foot.

DON'T LEAN FORWARD, KNEEL FORWARD, MOVING YOUR BODY FORWARD WHILE KEEPING YOUR BODY ABSOLUTELY VERTICAL,

Why is this elmenatary concept so hard for you to imagine, even after you've been shown a picture of it????????????????????????????????????????????????????????
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Anonymous. To me verticle is upright.To lean back or foreward is not verticle. If I am climbing stairs I do have my top ahead of my knees and feet.. This is the position that you propose I should be in when going forward. on a Forward Walk.
I have asked many times if you can point me in the direction where I can see anybody of any note, either saying or demonstrating leaning forward away from the verticle. Don't tell me that you haven't searched, and having searched have not found. I will quote from another source if you like. A source which anybody seeing this can go to and see for themselves.
Quote. Forward Walk in Slow Foxtrot. Assume he starts with his right foot as the first step of the Feather. Nowdays it will usually be preceded by a preperation step of the LF where lowering will be accomplished before starting the Feather.As the RF passes the LF we would accomplish a pronouced flexing. Hillier refers to this an exact 46 degrees flex of shin to floor angle before the heel of the RF will start to skim the floor. As the RF moves forward, first the ball of the RF will lighty skim the floor, untill it passes the LF where the heel will lightly skimming the floor to reach its maximum distance of Mid Stride.
Mid Stride. A very important moment in any walk where the weight will be equally distributed between the heel of the front foot and the ball of the back foot. This is centre balance
It goes on to say the lady will use the same technique for a Forward Walk but her poise will be her usuall poise and at no time will lean forward.
Backward Walk is a different species and requires very intricate .
lowering of the back heel.End of Quote.
Forward Walk As we are suspended at midpoint on the heel of the front foot and the ball of the back foot. As the front foot lowers , or rolls the rear foot which is on the ball will also roll forward where it is now a toe.
Now you tell me where it is written performed or spoken that the body will go ahead of the knee, foot.
Going to the extreme part of the toe on the rear foot. I probably know more about Latin than any of the other styles. I can assure you that this is not an excercise. any disk will show Slavik, Killick have gone to the toe and more, where the toe is turned under and their toe nail would be on the floor. thats the top of the toe nail, lady and man. Look and ye shall see. And if you look at Modern you will see the tip of the toe on the floor, not as drastic as in Latin where the weight has gone beyond the foot. Which in Modern it doesn't.
This gets a bit long in the tooth. Music. If the beats were irregular which they are not. Sometimes we would have 28 bars a minute and sometimes 30 bars a minute.Which is ridiculous. So why put your self in a position where anybody can put a disk on and listen for themselves.
The term used by most of the teachers use the word re-charge for the bending of the knee. Call it flex if you like. Why would you bend, flex, re-charge. if it wasn't going to be used. I don't even know why I bother to enlighten you. I suppose I feel sorry for the pupils at your studio and hope that maybe you will see the light and come back into the real world instead of the one you appear to be stuck in. Got to go