Some notes from Blackpool Congress

A link in a forum posting took me to video from a Blackpool Congress. Some notes from Marcus Hilton's lecture in 2007.

• "We pull our stomachs back to our spine, we don't lift them up, because that changes our weight balance, our center of gravity"
• We want to feel everything is vertically hanging. We don't want to lean left, right, forward, or back.
• Knees are always soft in standard
• Body moves first
• We time our bodies, we do not time our feet
• In Promenade figures, the man wants to feel like a gondolier, pushing off his right foot like a pole, and twisting his body right.
• "I want to stand and grow, in promenade position, not stand and go."
• In promenade position, particularly when stepping with his right foot, the man should not cut off the lady's line, there should be tension pulling his knees together in the coronal plane of the body. (That is., he should activate his hip adductors.)

Blackpool Congress 2007 Marcus Hilton

Heel Turn Exercise

Heel turns are found in Waltz, Quickstep, and Foxtrot

Heel Turn Exercise

Start facing diagonal wall, weight on RF

1. Lower and drive back onto LF, dragging right heel (S)
2. Straighten knees, and start turn 1/4 right on left heel (Q)
3. Rise on feet, absorbing the rise with the knees (&)
4. Drive off RF, straightening knees, step toe on LF (Q)
5. Drive back onto RF, dragging LF (S)
6. Straighten knees, and start 1/4 left on right heel (Q)
7. Rise on feet, absorbing the rise with the knees (&)
8. Drive off LF, straightening knees, step on toe of RF (Q)

Rumba Footwork

Keep pressing inside edge of ball of foot (IEBF) into floor. 

When taking a side step (to left, for example).

1. Left foot starts with IEBF pressing into floor, left heel brushing right ankle, left knee up and crossing in front of right leg.
2. Slide LF to side, keeping full weight on right leg, pressing IEBF into floor
3. When left leg is straight, still with full weight on right leg, place left heel on floor
4. With two straight legs, both heels on floor, pressure through IEBF on both feet, then press out of IEBF of RF to transfer weight to LF
5. Extend RF by continuing to press with IEBF of RF, so that line of ankle breaks, and instep (top of foot, shoelaces) faces forward.
6. Draw RF in, heel leads the rest of the foot, pressure of IEBF of RF on floor maintained, until right heel is brushing left ankle, right knee crossing in front of left leg.

While Cucarachas and Cuban Rocks are traditionally executed with both heels remaining on floor, it is now often seen in competitions, and acceptable, to create the line in step #5 above with the free foot.

Never begin to transfer weight until the stepping leg is straight, with heel on floor.

Foxtrot Technique (Lady's perspective)

Foxtrot technique (mostly from Lady's perspective):

• This is all about the quality of movement.
• For Foxtrot, don't think about rise and fall, it's all built-in the footwork already. If you do rise, that probably means you are popping up and doing too much rise.
• Natural Weave: After heel turn, do not pop up, absorb rise in knee.
• Going into Three Step, Natural Turn, Natural Weave: really need to pay attention to:
• The previous last step (RF back): completely settle, before moving "across" on LF stepping back. Otherwise, it appears to have "double lowering" problem. The lowering/settling need to be in sync with the Man.
• Keep left. It's very easy to lean into Man's space during Natural turning figures. So really make sure to stay left.
• Practice Feather Step and Three Step continuously:
• Other than step 3 of Feather Step which is CBMP, all other steps are straight back in straight tracks (leave room for Man). The CBMP step makes the movement veering toward mans' left (lady's right), but other than that, everything else should be straight. Don't make waves (either to left or to right). 
• Feather Step connecting to Three Step (step 4, Lady RF back): make sure knee is top of right toe, straight, knee should not be turned out.
• Lady is on high heel and normally has smaller feet, so it's even more important to take the time to roll through the feet and not rush, as Man has bigger feet to roll through. Controlled rolling through feet, no wobbly feet.
• Reverse Turn: the heel drag on LF should not be too quick, it should be in sync with Man.
• Moving back: extend the thigh back to gain more length.

Standard Ballroom Technique: Foot Alignment

Step relative to where you are now, not where you will be. For example, in the Waltz Natural Spin Turn the man's first step is forward, and then after placing his right foot he turns 1/4 to his right. 


Some might be tempted to turn the body and hips before the step, so that it goes DW against LOD, or the foot is placed turned out. This would take the gentleman right into his partner, rather than stepping past her.

Waltz Closed Impetus and Reverse Pivot

When first learning the Closed Impetus, the way it is typically executed is that the man will rise up on 2, as opposed to the end of 2. A smoother way to execute this figure has the man delaying any rise until 3. In other words, on 3, the man pushes off the ball of his right foot to go up on the toe of his left foot.

When followed by the reverse pivot, blend it into the preceding step. Be sure that the man's right foot tracks under the body, and that the weight is fully committed to the right foot before the next step.

Beginning Cha Cha Technique Note

It is common mistake when doing basics or cha chas in place to do a press walk, and then actually commit weight. The problem with this is it becomes too easy to forget to fully change weight, and you may easily end up on the wrong foot relative to your partner. On each step, do a full weight change, and avoid this confusion.

Leading Heel Turns

Man leading heel turn:

• It is very common for the lady to feel like the man is knocking her over. This is because he is turning his body too soon.
• If he is pulling her down on the third step, it is because he did not brush his feet and collect his weight before taking his next step.
• The man has to step around the lady, who has finite radius, before he turns her.
• Early rise: some coaches say Man leads heel turn by rising early - though the ISTD Ballroom Technique has no mention of early rise. It is still "rise e/o 1".
• More consistent with ISTD Ballroom technique, and recommended by other coaches, the man leads the heel turn by leading the lady to put her weight on her heels.

When dancing, think about actions, rather than figures, such as Natural Spin Turn action, or Feather action, as the figures are composed of actions, and the actions should feel similar across the different figures that use them.

More about Standard Technique.

Foxtrot Natural Turn, Natural Weave, and Hover Cross

The Foxtrot Natural Turn, Natural Weave, and Hover Cross have the same steps for the first two steps, and it is after that they differentiate. For the leader,

• Step 1: RF forward, with CBM
• Step 2: LF forward, and then when transferring weight, turn hips
• Brush RF to LF before taking next step on RF.

Then

• On Natural Turn, after turning feet and hips to face may partner on step 2, hips and shoulders stay flat, as  lady steps between leader's feet.
• On Natural Weave, on third step turn shoulders and ribs right, to lead lady outside partner
• On Hover Cross, on third step turn both shoulders and hips to allow lady to pass.

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.

Standard Technique: CBM versus CBMP

CBM, or Contra-body Movement, is a rotation of the body. It is used to set up body position subsequent steps. CBMP, or Contra-Body Movement Position, is a step. In a figure such as the Feather Step in Foxtrot, CBM on the first step on the right foot sets up the correct relative position of leader and follower so that the followers steps in CBMP on the second step, and the leader steps in CBMP on the third step.

Tango Technique

Tango Silver practice routine:

1. Walk  (S) starting Man DW
2. Walk  (S)
3. Progressive Link  (QQ) ending traveling DC
4. Promenade Link  (SQQ)
5. Open Reverse Turn, Lady Outside  (QQS QQS) Open Finish
6. Four Step  (QQQQ) ending traveling DC in PP on new LOD
7. Open Promenade  (SQQS)
8. Outside Swivel  (SQQ)
9. Progressive Side Step Reverse Turn  (QQSS QQS QQS)
10. Progressive Link  (QQ)
11. Natural Promenade Turn  (S QQS)
12. Rock Turn  (QQS QQS) 2-7 Closed Finish
13. Progressive Link  (QQ)
14. Natural Twist Turn  (S QQS QQ) underturned, ending traveling on new LOD
15. Promenade Link  (SQQ)
16. Open Reverse Turn, Lady Outside  (QQS QQS)
17. Progressive Link  (QQ) toward corner
18. Back Open Promenade  (SQQS)

A couple of technique points on Tango:

• On Progressive link: Man: step diagonally forward with left foot, pushing follower's right leg out of the way. step 1 is very strong CBMP. Man should turn his frame when his weight is on his left foot, then put down right foot under shoulder, in promenade position.
• On Promenade link: when in PP, lady has to stay behind Man. on second step, when Lady steps LF forward and across in CBMP, it needs to stay behind Man, so after turning to face Man, the left leg can be in the right position.
• On Four Step: The first part is like Open Reverse Turn, it ends with Lady's LF closes to RF, but slightly back to give room for Man), in PP. This is different from the ending position in Progressive Link (where LF steps to the side.)
• On Open promenade, when this is followed by Outside Swivel, as Lady is quickly back into closed position, the Lady can keep her head position in Open Promenade all the way through Outside Swivel.
• Both Man and Lay should pay close attention to correct footwork and alignment.

Rumba Technique

Footwork

In Rumba, as in Cha Cha, always have your weight on one foot. Split weight happens only for a brief moment as you transfer weight from foot to foot. This is evidenced by always having at least one heel off the floor. As you transfer weight, you push off the inside edge of the ball of the foot you are leaving, maintaining pressure into the floor.

Settling

In International Rumba, we settle into the hips on beat 1, which matches the downbeat of the music. This settling is to the extent that you feel your center of mass lower.

Poise

Your balance is such that standing still you should feel the pressure from your weight primarily on the balls of your feet. Without any adjustment, this would make you look like you are pitched forward. So, once you have the right poise, you lift your chin so that you face forward, and you compress your core so that you don't have your ribs sticking out in front.

Basic Rumba Arm Styling: Cucarachas

When dancing Rumba, you want to keep the arms moving. This is some basic arm styling for Cucarachas and other side to side Rumba figures.

Starting with weight on left foot, settled on left hip, left arm is extended to side, left hand facing down and extended out, right hand is in front of chest, facing body, elbow down.

On beat 2

As you step to the right, the right elbow first extends straight to the side, followed by the arm from the forearm to the hand swinging down and out, the whole motion smooth, until the full extension of the right hand to the right, with the hand facing down, coincides with the settling of the right hip. As this is happening, the left hand turns up, accompanied by the bending of the left elbow down, the hand continues to rotate and the hand comes in, with the elbow going down, until the left hand is in front of and facing the chest, with the left elbow down. The end of this motion coincides with the full extension of the right arm.

On beat 3

As you return your weight to the left foot, the right hand comes in, turning up, elbow going down, and the left hand extends out, elbow first, then forearm swinging down and out, left hand ends facing down, fully extended to the left, at the same time as you settle on the left hip.

4-1

As you change weight to the right foot, and settle on the right hip, the right arm goes out to the right, and the left arm comes in.

2

Repeat the motions switching right for left. 

The image is of the two hands making circles, and the motion of the hands match and accentuate the motion of the hips, while the ribs are in opposition.

Breakdown of Rumba Switch Turns

Turning and settling in the Rumba Switch Turn
In the following, numbers are the whole beats, '&'  is the half beat, and 'a' is the 3/4 beat.
Breaking it down really slow...
1. RF step side
&. Draw LF to RF, turn 1/4 right
a. Settle into right hip
2. LF forward
&. Keeping feet in place, swiveling on balls of feet, turn 1/2 to right
a. Settle into left hip
3. Transfer weight to RF
&. Draw LF to RF, turn 1/4 to right
a. Settle into right hip.

After holding on 4, repeat, swapping left for right.

What is shaping in ballroom dance? And how is it different from sway?

Shaping is a body posture that is assumed in the course of dancing to assist in dance partnership and to provide emphasis to certain movements. When shaping, one is still balanced. For example, if I am shaping left, stepping on my right foot, as the man would do on the second step of the quickstep running finish, he could stop on that foot and still be balanced. That balanced is achieved by shifting the hips to the right over the leg, while the spine tilts left. The tilt of the spine is counterbalanced by the hips.

This same idea applies to the standard frame in closed position. The knees bend, and the hips come forward. The hips coming forward is counterbalanced by the spine tilting back, creating a bigger frame. The spine tilts left, and the hips move to the right over the legs, counterbalancing each other, and creating the shaping to the left, and the big topline.

What's sway, then, and how is it different from shape? Instead of counterbalancing body parts against each other, the tilt of the whole body is used to counterbalance against a change of momentum. If you are walking along, and something like a curb stops the motion of your feet, the rest of your body still has momentum, and keeps going. You fall down, a victim of gravity and  Newton's first law of motion. If you see the curb is there, and you want to stop your motion before you trip, you lean in the direction opposite of your motion. If you are a pretty well balanced person (if you can walk unassisted you are pretty well balanced), you will lean back just enough that gravity and your momentum will balance each other out, and you will come to a stop.

The greater the change in momentum, the greater the lean you will need to change your momentum. That's why bicyclists, motorcyclists, runners, skaters, etc, lean so far into a turn, they are making big changes to the direction of their momentum.

Now, what's all that got to do with dance? If you are doing, for example, a natural turn in waltz, your first two steps are in a straight line. On the third step, you are bringing your feet together, and coming to a stop. You have also turned your body, so as you are bringing your feet together, you are moving to your side. If you have little momentum, you will lean away from the movement a little bit, to help you come to a stop. For example, in the natural turn, the man will be leaning a little to his right as he is bringing his feet together. If there is not much momentum, the lean may be unnoticeable to anyone watching, but it is still there, or the couple would start to fall over a bit to the man's left. If the couple has a lot of momentum coming into the third step, they will need to lean much more to the man's right to counter the couple's momentum. That's why competitve ballroom dancers have so much sway, because they are moving so fast across the floor, and need to make much bigger changes in their momentum.

In short, you don't need to try to sway. Sway is a natural consequence of staying in balance as you change your momentum.

Reverse Turns and Getting Kicked

You may find that sometimes the lady's left heel kicks the man's left heel in figures like the Reverse Turn in Viennese Waltz, and the Double Reverse Spin in Waltz and Quickstep. There are multiple factors that may contribute to this situation. The first is that the man's left foot is stepping inside the lady's right foot. This may be because the man is cheating a little to get around the lady on the turn, or the lady is stepping back and to her right to get out of her partner's way while the man is stepping straight. Then, on the lady's second step, the man's left foot is between her feet, and as she closes she catches his heel. This is exacerbated if the man's left foot is also turned out, making it more difficult for the lady to get her foot around his.

The first step in these figures is straightforward. Straight, and forward, with no turn out. Turn does not happen until the man's right foot passes his left foot.

Standard Technique: Stretch Left Up and Forward

Here are a couple of things to review - mostly for the Lady:

• Getting into frame: Use the 10-point system described in Standard Technique. Note that Lady put her left hand on Man's right arm last, it is after Man put his wrist under Lady's left shoulder blade.
• Lady's shoulder: do not drop left shoulder, really stretch left side forward and upward, and counter balance with muscle under shoulder blade crunching diagonally.
• Head: do not wrinkle back of neck in order to appear looking up. Start standing straight, turn head 1/8 left without creating wrinkles in the back (elongate back of neck), bend left knee forward, pull 2 shoulder blades together to center of your back, counter balance the forward bending knee by leaving head, upper body as one unit behind (bend 'back' if you can, but as one unit and without gapping with Man), think about presenting your collar bones.

Tipple Chasse to Right:

• Though step 4 is listed as "side, slightly back" in the Ballroom Technique book, the Lady should step to the step, and because of changing direction to BDW, it will become a "slightly back" step. If Lady really steps back, it will gap with Man.

Natural Turn:

• Step 4: Lady be careful not to dip left shoulder. Keep left shoulder flat.
• Step 5: LF to side, some leaders like to shape a lot, by turning shoulder to right to wind up and connect with Zig-Zag.

Quickstep Fishtail Figure

In reviewing the entry for the Quickstep Fishtail in The Ballroom Technique, we find what may very well be a typo. The notes for this figure state that the man's 3rd step should be slightly outside the lady's left foot. To set context, the first two steps are RF in CBMP, outside partner, and LF crosses behind RF. So we are in outside partner position going into step 3.

At this point, if we have good connection, and we are in outside partner position, stepping outside the lady's LF requires at minimum that the man swing his leg out and around the lady's right foot.

However, if we read that note to state that the man's 3rd step is slightly outside the lady's RF, then the movement is natural.

What is a preparation step?

You may have observed standard ballroom dancers swaying from side to side for a measure before starting. If you started learning American style smooth before international standard, you would have learned that the man always starts dancing stepping forward on the left foot.

In international standard, we have a preparation step. It's a bit of movement to get the couple started moving and in sync before they start dancing. From the man's perspective it consists of a step to the left, a step to the right, and then forward on the left foot before starting a figure. For Waltz, the timing would be:
1. Step left
2 & 3: Hold
4: Step right
5: Hold
6: Step forward on left foot.

For Foxtrot and Quickstep, the timing would be.
1: Step left
2, 3, and 4: Hold
5: Step right
6 and 7: Hold
8: Step forward on the LF

If your first figure will start on the man's left foot, then hold for one more beat before stepping forward with the left foot.