International Samba: Boto Fogo technique

Samba Traveling Boto Fogo technique break down:

Going forward (diagonal)

• "&": pendulum action forward. bounce, lift heel. There should be a moment when both heels are off the floor.
• "a": hip rotation to step the other foot forward, emphasize hip rotation. Ribs, shoulders move less.
• "1": step front foot, back leg straight, hip turn out. swivel back foot, break ankle. The heel of the front foot should drop to floor.
• "&": pendulum action forward, raise the heel of front foot, it is not flat-footed movement.
• "a": hip rotation to step other foot forward, in the same direction as the motion (not to the side), place partial weight, then hips turn 90 degrees.
• "1": step the other foot. back foot is turned out, break ankle.

Newcomer Samba and Foxtrot

Some points of Foxtrot technique:

• We've become accustomed to trying to fix our frame into position. Actually, the frame has to be flexible. The most important thing is that the body contact is good, so if the man moves his arm out of good frame, for example, it doesn't cause the lady to lose contact, and thus the lead. There are some ladies who get into a beautiful frame at the start, wide elbows, shaping left. But then, as the dance progresses, they can't make adjustments as needed during the dance, so that when things start to go wrong, they just keep getting worse. On the other side, there are ladies who are able to adjust, sometimes the feet are not doing the right thing at times, such as passing the feet when she should be locking, but it doesn't matter, it could still feed very good to dance with the lady, because the connection is always there and is always good. If the frame and the connection look good, the audience could hardly tell what's wrong.
• When the lady steps out of a heel turn, the rise and fall should be gradual. She rises as she steps forward, and lowers as she completes the step.
• When a man makes a heel turn, he does not rise until the end of the second step, in contrast to most figures in waltz and foxtrot where the rise begins at the end of the first step.

Samba practice routine:
It includes an "alternative side basic" step: start on the right foot, step in place on right foot on 1, step side left with partial weight on 'a', replace weight on RF on 2.

Natural phrasing of Samba is 8 beats, indicated with (8) below.

1. 2 complete reverse basics (8)
2. Side basic to left and to right
3. Whisk to left and right (8)
4. Whisk to left
5. Lady's left turn to PP
6. Two samba walks in PP (8)
7. Forward Samba Walk in PP
8. Side Samba Walk
9. Turn to face partner for Two Stationary Samba Walks (8)
10. 2 Alternate Side Basics
11. 2 Boto Fogos, hand to hand (8)
12. Boto Fogo, man stepping with left foot first
13. Five Voltas to mans' left, with Boto Fogo ending. (8)
14. Two complete natural basics, a quarter turn on each, to complete a half turn. (8)
15. Alternate Side Basic
16. One Boto Fogo
17. Five Volta's to man's right, with Boto Fogo Ending. (8)
18. Alternate Side Basic
19. One full reverse basic, turning 1/4
20. Forward Half of reverse basic, turning 1/8 (8)
21. Back Half of reverse basic, turn 1/8
22. Samba bounce in place to complete count of (8)

Interestingly, both of coaches talked about Phyllis Haylor, who apparently had a large part in creating modern ballroom dance. As a little bit of history, our coach mentioned that all turns were to the right, and the standard dances were all fairly linear down the floor. Phyllis Haylor introduced the idea of dancing diagonally across the floor in the 1920's, and introduced turns to the left, or reverse turns. Other patterns, such as the Telemark and Telespin, were introduced when Haylor's partner made a mistake, such as overturning. The resulting mistake was attractive, and so was done intentionally after that. Our instructor says that she and her partner are one of the few couples that do the Telespin as originally done by mistake, and it has become one of their trademarks.

Newcomer Samba and Foxtrot

Break down the samba walk in great detail:

• Start with feet together.
• Straighten the legs on 'and'. 
• Step back with the right foot. 
• Keep weight forward. On 'a', land with split weight, heel does not touch the floor.
• On 2, in order for the weight to be returned completely to the left foot, the left foot needs to slip a little so that the left knee can bend.
• Do this very slow. To help understand the motion, watch Joanna Leunis do a slow motion stationary samba walk in an exhibition. I found examples of it here and here. In particular, notice that the hip starts moving before the leg, because the bounce action precedes the foot movement.

On the basics, natural and reverse stepping forward, and on side basic, the trailing foot has the instep facing front, line of ankle bent, pushing off on ball of foot.

Some technical details on the balance and body position for the latin dances.

• Rumba: weight is low, below the navel, and the body is pretty straight up and down.
• Chacha, weight is held above the navel, same balance as rumba.
• Samba, weight is held at the sternum, body leans forward, heels just "kiss" the ground.
• Jive, weight is held high, in the chest, body leans forward until just short of the point where you fall forward. Then the hips go back to restore balance.
• Paso, the weight is held up in the base of the neck, and the balance is far enough back so that you can lift your toes off the ground.

Our instructor also broke down the feet, for the purpose of dance, into the heel, the arch, the ball, the platform, and the toe. The platforn is what one is standing on in releve in ballet. The instructor said you could tell which Latin dance was to be performed just from the posture of the dancer, based on these principles.

In foxtrot reverse turn, the way a heel turn is led is that the man steps on a practically straight knee. This stops movement forward. This is what is meant by early rise.

Lesson on Samba and Foxtrot

Samba technique review:

• Feet stay in contact with the floor
• On the up part of the samba bounce, the bottom sticks out. This powers the slip step of the samba walk, and allows the back foot to pass around the front foot on Voltas.

Foxtrot practice routine:

1. Preparation step LF, S, slightly left of LOD
2. Feather Step   (SQQ)
3. Three Step   (SQQ)
4. Feather Step   (SQQ) 
5. Reverse Turn   (SQQ S) checked, end BDW
6. Basic Weave   (QQ  QQ QQ)
7. Three Step   (SQQ)
8. Natural Turn   (SQQ)
9. Closed Impetus and Feather Finish   (SQQ SQQ) - changing LOD
10. Three Step  (SQQ)  
11. Natural Turn  (SQQ SSS)  

• It's important to collect before a slow step. Slow steps are driving steps, we coast on the quick steps. 
• Three Step footwork is special: as the second step is taken Heel-Toe (in the chart, it's listed as first step, the first Q. The previous S is the last step of Feather Step.), rolling up onto the toe. 
• Caution on the Natural Turn: After a lady learns the Natural Weave, it is very easy to go outside partner after 1-3 of the Natural Turn, but she should be careful to do that only if it is lead. 
• Where the Waltz is like being on a swing, the Foxtrot is like a monkey swinging from vine to vine, including the turning of the frame from left to right. Another way of describing it is that it's like rowing a boat. The need to collect and drive on the slow gives the image of the stroke of the oars in the water propelling the boat, and while the oars are out of the water, preparing for the next stroke, the boat coasts. Similarly, all the power to move across the floor comes on the slow step in foxtrot, and one coasts on the quick steps, until it is time for the next slow to drive further down the floor.

Lesson in Samba

The most challenging aspect of samba for the beginner is the fact that the knees and the feet don't move at the same time.

Exercise with the volta, starting with left foot in front:

• &--Rise on the left foot, straightening the leg, rising on the ball, lifting the right foot in the air to make sure weight is on the left foot.
• a --Right foot to side
• 1--Front foot crosses in front of the left.

A very common mistake would be to use the free leg to drive the motion, rather than the leg with weight. Hips should absorb the samba bounce, so the head remains level. It's important to first get the footwork right, or there will be nothing for the hips to absorb.

More on Samba Technique

Voltas

• For voltas to the right, left foot steps in front of right. Feet are turned out, right knee touches back of left knee. Hips face 1/8 to right.
• & - start with leg rise to begin the the next step, hips tilt back (arching the back), hips start to rotate flat
• 'a'- continue with foot rise, stepping on ball of right foot, hips are flat
• 1- left foot closes to right, at the last second, hips tilt foward to allow left foot to cross in front of right, hips rotate right

Boto Fogos: 

• 1- step forward with left foot, turn out right foot, hips rotate right, ribs and shoulders move less, to emphasize hip rotation
• 'a'- step forward with right foot, swinging leg in same direction of motion, place partial weight on foot
• step forward with left foot, turning left 90 degrees
• arms- on criss-cross boto-fogos, when Man is to right of lady, right arm extends straight out, when Man is to left of lady, extend right arm straight up

Lesson in Foxtrot and Samba

In Foxtrot,

• Precision in footwork, it's something that one tends to forget. 
• Feet need to point in direction you are moving. Do not turn out the feet.
• Rule of 1/4. Feet shouldn't be turned out more than 90 degrees. 
• Collect my feet on the appropriate steps.
• Early rise when leading a heel turn. It is difficult for the lady to do a heel turn with bent knees, so Man needs to rise enough to allow her to have straight legs. In particular, this happens on the second step of the natural turn.
• One way to practice technique is to do Man and Lady's parts separately. Man would take his steps, and Lady takes her steps to judge where she needs to step. And vice versa. Similarly we could step at the end of the figure, and check our positions.
• Do CBM properly.
• Do not lean forward (for Man), or lean back (for Lady). Leave some room between Man and Lady's feet. If they are too close, we would be forced to either lean forward or back. The correction to this possible cause is making sure our relative foot positions are correct.

In Samba

• On stationary samba walks, should bring the feet together, the slip step is very small. When the foot steps back, the hip turns with it, and can be exagerated to enhance the action.
• Use the pendulum action of the hips.
• On going from side samba walk to criss-cross boto fogos, Man needs to keep the forward motion, and get his partner to keep moving, while Man holds back, without stepping back.

Samba Lesson

Samba Basic Motion: Timing: 1 & a 2. Release the heels and 'bounce' up on &. The 'a' step only gets partial weight.

Samba walks: On the 'a' beat, the front leg is straightened, the thigh pulled back, weight is kept forward.

Voltas: The leg that crosses in front crosses just in front. The knees are together, and you 'sit. Then release the back leg to step to the side, this is the traveling step, not the crossing step.

Boto Fogos: The foot that steps to the side is turned out. It is the foot stepping forward that will swivel to change directions.

Beginner's Samba

In the Samba basic, the rhythm is 1 a 2. The 'a' is at the 3/4 point between the 1 and the 2. On the 'a' beat, the heels release from the floor, and the hips tilt up. The feeling is like doing an abdominal crunch. On the numbered beat the hip tilts back down.

Natural basic, the abs are crunched on 'a', step forward on the right foot on 1, while straightening the left leg and turning out the left foot. The hips twist, but the shoulders do not. More on Samba Technique.