A Technique of

Advanced Latin-American

Figures

by Geoffrey Hearn Assisted by Petra Matschullat·Horn

·· !t·t hmtJlll' '' tlh '"'1/tllll'l"!.!

t-.1111 th, iih "( llctiiU ' tJ/ til-. lttt~.h

.,m,/tft-. J'lll 'li 41//,t\\ \ U/JiiOiit;IJ

IIJ th.'clfl' ll pt.•nuu,lf b·t.:lim.!,. u/

.. wc.lll\ tJ/JI'Ii\"c.'llh."llt'' •

~ .._ _ _,//.: ..... .

"' I

-• -- , ....

•

-

Accent

Cl>oreography

CRfl (as In ftoon:raft)

Follow

lead

Muai~i

Posture

Posturing

Uno

Technique

Rhythm

legato Rubato Staccato Quick Slow

Rumba Samba Cha Cl\a Cl\a P.so Doble Jive

Promi~nce given to a beat

O&Sign or arrangement of a d&noo<

Special skil of tedtnique. Make in a ~M way

Mo-le rhythm'.cally to muslc

8& necessarily we as a consequence

Cause to go with one: (Aulhots note 'This does not moan push or puli')

Fond of. sensitive to. or skillec in music

Relative position of parts of the body: carriage. bearing

Assume a mental and ptwsica altitude especially for effect

A stra·ght or cwved continuou; length wlthovl breadth

MechaniCal skill in lilt Ma11ner of a<tistie execution in music. dance. painting. etc.

A periodical accent and duration of music, espedally a.s beats in a bar

In a smooth ftovf.ng manner Temporary disregarding ol strict tempo Each sound or note sharply distinct Taking a relatively short tlme Taking a rolativoly long tlmo

A rhythmically complex Cuban Dance A lively Brazilian dance with strong African lnftuences A style of Cuban danco A 'couple' dance portraying bl.lflghting movements 10 march music of Spanish origio A li\lely and uninhi~ed variation of a form of SW!ng dance.

I fHI- ahould etudy the ~nltlons to undar11tan<1 the words we use In teaching. For example have you considered the deflflitiona oflead and Follow.

The words are ao true.

Content

ForoWOrd 6 The Way to Use th~ Chart 22

The Original Tedmique 8 Tho Future 23

Introduction 9 Abbreviatfon.s 23

Development of Body Rhythm 10 Index of Rum~ F;gor•s

Development of Posture. Body Posllion & Hold 11 Rumba Structure and Cha·racter 25

Development ol Free Arm Rhythm 13 Index of Samba Figures 76

Development of Musicality 15 Samba SttuctUf9 and Character T7

O.velopment of Choreo9rap1ty 16 Index of Cha Cha Figures 122

Oovo1opmont of Triok Ffgurou 16 Cho ChP Cl'\o Strvot\&~ ;~nd Chorao\Or 12'3

Floorcraft 17 Index of Paso Doble Figures 170

Technical Oeflnltlons 17 Paso DobJe Structure and Cllaracter 171

Lead zo lndelC. af Jive Figures 220

Musical Nolotion 21 Jive Structure and Character 221

6

6

Foreword for Geoffrey Hearn's book "A Technique of Advanced Latin American Figures"

By Alan and Hazel Fletcher, 5 Urnes World Profeulonal l.otln·Amtrlcan Champions

n.s boclt •• an a-:c ·"""1• ror aeacners. tra:.e·s aod coaehes oltke. an readong lhe r~ pages lhOrc was a rea'l$31!0r lhol

8 hugO \'Ole existed s1occ !he orig na' printng c' the ini:.alltlCM~ bOOks and $li~SCQUefll reviSIOns. Thl$ bOOk~ so V@1}' much :Urtltct. n does not reploce !he necess<ty or f.rsty learning ahe rev.scd techn•q"" ~ s pvrpose •• a oertcca 'folio ... on !hal prov.cJes so much t!OCd ed analys·s of slept;, fisures and ;"lll)veme.nts that have bic.Ome pop~br ovet the yea;s out 1\ave never bee, il":ll yse<:~. detailed and deftnecl•n such dept": unbf no-H. Fot Ute teacher wtsh1ng !0 ta'~e mt."'ia~tsts and social dancars •nto ear1y con" PC~' 0:'1 levels ~le •r.ch.:ded figures :»nd lhftll cxp'an.alions wiU be irMlct"tsurably useful. II s •mpcnant for ai: dancets al a,y ev el lo \lCCCp! thJt ,t Is nooossary to ccmtitwo researChing. sD.K:'ylng and !eammg Every dance' can gain from owmng this book f::. .... cn tts e~pc. rience<f COnlJ>Ctitors ~r.d r...oacho.s of o~er 35 years we havo found U10 perusal or :h1S book interesting and even shmu•nhng due to suc.h o woa!lh of fcrcthounht that has gone 'nt.::'> Its ma'<ing. f<> pen th•s book has obviously not beer1 laken on hgh:ly, Th•J cas'< to pt!tftK:t tho content rnust hove betm immense. no~ only yoars ot' wriliug but 3 metmu: of e<i\1catr.on ond contii''I\J~d dcvolopmont (ue lhe backbone. it most wrtainly is 3 "Labour of 'covo··

The bridge betwecr lOcia\ dancer. medallist a.;:d C(>m;>at to' wtll be e~~:~;!\y ass•slcd with the ·tte~p of this t>oek 1 tu~re •s a hugo ins.lghl ,nlo what 1$ 0$!10nt(at'er impfCvemePI a1d <levelopment P200 after pyge Technical aspeets are sc rnuch mmo th;:an jvsl ar, unC&t"Siand·ng of 1t"tOp$, foo1 PO$•for-s, ti.rrhg, arr:10n1s of turn e~ In this t>o<x parts of the a-natomy artt descrtbt.'d 111 deta•l as ne\ler oo'o;e ~;esn 1"1 pnnt. p·ov·<:i~ ~1e reader ·.~rth such a vast potent!.&~ ond understanding tf\al wilr affo«! them <Mth knowledge, :~ utt.mate 'ICOit"

T'-ere :sa wmllh o' nta"crcus teact,;r.g lips w tilln lhe pages that ara t.asc'rat.ng Som.e teachers w.J profess to kno"'Vt9 tho tremcs bt.t So t!S rg difiCICn: Yt1>rd$, r t-e k"'0\\1cdgc G.Ji ... cd tron tn-ese t!p$ for tnem i$ tha1 some pu::M~s react to different \\Qrd$ r Of sure when we fnd 1: d11f""'r. w Ut ou· ~n tea;h r" methOdS to rcfakJ eo a pupil that lS strug.giing nith COf'l'l>fCh&nsion \\.'8 wt 1 •ndeed be gratefuJ Jor ti"e boo< and Rml ou·se ves c.uoting Geo"frey Hearn's teachi""tg tiDs. Even at th-e pinnacle ot tho danoe hu$iness a 1 coaches can compare teacrmg ide~s .:;td ::>el:ets ard ga·n from havlllg a Shantd underscand'ng of C'itferent methods that can then be exuemely useM

l he early chop:ors contc:nn ~u much historical oonlent. lmporntwo to· Ult<lerstandmg the orir.ins ot where and how • all •· r• I I. f d I ., • ' 'I ' I , ~ , " wgHn. ne

cxp ana ~no cvtt o;:mwn, proVIt:as "'a:. A et, ndkvldual rcqu,mmtmts of tho 6 Latir1 dances to enhance c-)13ractoriso~o h H • 1 and mus1cal tml!er8ttmd nu and !hereby tmptO';c-art1shc -QuHIIy In tho scchnl"' of te·1ching tips ._ .. ~rso .11y h' hi' htnh. r Y UT1LC3 t. i 1 ·1 lo f • ~ " ' . . '· . t · , ..,_. na tg tg t OtO&Ct\UlQ •.P u. 11e r.ulm nAl no ,~R hold seehcn as 001119 such an lmpor1ant asset nno teemingly misunde .... ·tood even b 11 1 · 1 · a ·~ . d Al • • · " ' Y •e mo or•ly o CO!tlpe .lw .. e 3neers. co now.,c cc c sc W1ll you lir.d such o ctoar <'.Cnelso and sensible descn'pt•'o• of te 0 20

• ··k? r• -' . " a as on poge or this ........ . ~~a ~xer ...... ses p(ov•de tt benoht for allt<l make dance movement a p·iority ovfH static posittcn and pose.

Gecffrey He:arn I~Othcr wfl.h w re Oiana has h.ad tl'la f.,-erfect porsonM.II''ItS-tory to empower him with lhe k . Yolume or dance QXp<l<!ISC. The ~reer ema" at'ng rrorr p-or.tOd competitors thon s"U<lying loth h ' ;., nowledgo lo create th>s i~er. panMm in oro o! l hc lo!~iest rrosl "'ccesst4t dane<> $(1\ools, oxporie~ ed~tor lh

6 '9?. "'level or fOfow Ond exam. :.ettcr So" ec: or-oo .. ccf of daree '.>1decs a"'o a'so teather and conch !o so 11\a"'y ill both Ba= .. or of th~ former. ·Aiox Moore ar. admual>lo lift To lhon 1>ecome autho· cl s!.ICh a back 'A Techn '~~'" of AdvtlflCed laf Arner' and Lat;n Amenc.an Slyles is tho S:.!ndard (Bal•oom) bOOk., 200415 mosl~ndable Fo· ~nfs t•- A·•- rg ... -~"' · ICall ~"lflures· after !he success o1 •· · . . • •m u _. ,. -~ ewes a b;g COb! Cl • •· "" hoS wil5oegne$$ IO de\IOio hiS tone lo this prqecl, make avOIIot 9 :~e weonh or h s aCQJ., lat . gra.1U~ to Geol!roy fl'ISSOO for lhe 'lOYe o! 03•ee: · " eo kncwledge sM indeod share hJS

Opinions of World Champions, other world authorities and read ing teachers of Latin American Dancing:

Shlrtey Balla$: Hewing knCwfr G~ 8 very/oog time and btJing fsm~iar w.rh his ""''" - es a ~e<>coor arid sn aUII>O'- ~ <:li<Jnol SIJIPris<J mrHI>8t ttus bool< Is oxoopllonal. h rs a lurthor ((I sigh/ tt>to 11>8 dopJh of LaiN> American <!tJneing. 1 do Jii<o 11>8 way Gdl«>eps l1lings so WJY s!mp/IJ; tl>ls boo~< is very descriptive. easy to !Oiiow oll<l WQ!I/akJ out. t ·NO<Jid f&CQmrnend this book to aY lwols of donee. This is another i(!Spirolionafexamplo of Geoffroy's wo11<.

Evelyn Hidrieh-Hllnn.ann: Wdh groat eXJ)edBiions I wa<led tor this bool< ro b<f rokJI.ISod. A~er the very ""fXKI""I SUCC<~ss wl!h GIKJII!oy's 88l'room fJooi< I w<>S S<Jto t.~at the Latin Book wcv!d be an impot!ant tOO/ li:>r my :ei>Ching. Hallin(} M <l 11>0 OP/)Oitunity to fool< at it, 1 im· rOOfiiato!y /lied ro srudy som<J of the figvros and found h very ~to-.•! to wo.rl< v.ith. For me his very imporo>nt that the kt>OWI9dg;J of 11"1 •I.BinJ. Tochniqw ·is 6 'm!lst' ond /he tourldatioo 10 vrlders!and Gooffrey's ""'*· I am sutO /hal this bo¢k Wlil bring even more k/loll.16dge "" lOP of s.~ /li<J o/Jler La~'n T&chnique Books ro aliciontldO$ ollt.is style of <!or.cing. EsP&Cilllly l lovo/he part wilh/1'-tt toacll!ng hlnls C(l(/ tl>8 vel)' ~.li oxpJ3i!Uid new estab,'ished actions wt.,lCit ha'/9 been do~'Cfoped ov&r lhB last ;-cars. t wish this book ~ same svcc::ess th()t the B3iroom Booi< 8ire:Jdy r&C6iv9d sr.<! v.ill recornm•nd it wflei>M¥ I teach.

coJin J•mes: This infonr.o~""' in took form hDS be<>n /eng awa~ed in /he Latin ~or. o romarl<ab.'e and oompf&ho!>siYs explanalion of adv8netJ<I Lllfin Americon frgur&S wlrh <ki!o:iod charts that maintl>in the fv>ldamenls of LaiN> Amorican dancing. simply a must to a# teach· 81$ Md oompc!jt(}{S afd<e. 18m part.'cu'.atly akin(() lhsloo!noles. which enhance lfrlportM/ 8SSeiSIO 1M (oguros 6S a..,_ 6nd <Sepid /he 9SS6nre of tl'!e Q'a:1co cJescMJed. 4s dancing mo~es f<>tever-fo:ward it is essenriDJ that wo upho!d the values of our talin Am9riccltr pionoers. Yf<tl> /his boc>l<. so tnfllh;/O<Isly assembled by Geoffl'8y, )1011 can now further enrich yoo~lin0w19dge of w~ American dancing.~ your sk41s ond ut•i<>ve g1eat r.eigbts.

Lorralno: llifSI met Geoff 811<1 Dillne j vs1 alter Wa.~tt>nd 1 ro6re<t from oompc:ing. as /hoy w&IB one o1 the ~rst profassJonaJ couples ha taug/lr. Geoff quicl<ly obs<-...tbod thet<X'hniqU6 Vl.'llly roquil8d end <18veioped a slmng interost in this imp/Mont p.>tt of OtlfprofessloMf wo.rl<. Hi$ in!orost hos cuiminaiod in lh!s amoling boo!<. Kr>cw!ad-.e of tho Laird Technjque Will fX/IJip 1M rca<fcr wlrh on undorstanding of this oxcdlent worl< in ct&81ing tile neoossart8rN811Cii>dt&chniques of Lllfin rtrj'Jim I 19111 ~Aor.s. at aillavals of schi6vement. sr.ou/tJ SMft Geo/r$ woo;ts. A que to Jll'tl~bulcd to Balanchino, tho wOfld filmous cl~phfif- ·New.• thO gamo has stopped, retJJity SD(S in'- ifl c!her words. when your parformance is no! gaittir.g bftff9ti'8Sih7s, use this book to unOOrstsnd the reality oftJue LaM American cfaJ>cing. Thook you Goolf lor your worl< and d6diGll:ior. to lh8 dance fomJ we s!/ love.

Richard P~r. I WO()Id Eko to take this time to oommood Goo~. who I admire groa~y as a La~o American dsnc<~ avthori!y. lor wri1ing this ir.torms!N<> new book. 1 havo over tho yea!S a<Jm!rod rJs wrilrM and wwsJ video descriptions ol dence movements. stoPS and too/klgs. ()llc/ oor.g!SI(Iiate him once again on this c-t new Wllll<. Which 1 W.-e...,. throws some .'IU/Ch nocdod ligN on many o/ the ' '""" advenoed flgU19s being dat>ced in compot~lons oy thR oompclitcrs of today. CCn9ralu!slions &>off on a job well dOfls.

Wolfgang Opitz: I fKSJ must congrdlu/81& yo" lor /his OU1standing work It hos ooen complote<! with 811 of )'001 I<Mwle<!g<J for the p61fsc6on of n><>tMm Ls~n tochnique. wl!h your footing tor tt.& thyt/lm and music, Gectr, t.<ove whac you have d$velope(j over the last 5 years. N<YN ""'have a 'Latln·Bible' lor genero:k>ns to come. I boli<J >~& th~ you •.ill influence young da!>oots and teachofs co study thO WO/'id(J((ul O..'<J<· grw:><J of REAL LATIN. This took shouJ<! booome a mi!eston9f()( proi<J...sional oxams: I wili svppot! ft every..t>ore. Than!< you.

Peggy Spencer MBE: No one olse has sffompled to ,VJs/yse Latin in such dotaH. 1101 ooly essen..~•! bJS:ic f;guf&s, and basic actioos, bU: olhor ligvtrJS In oommon use. His d818i/8ddosct!{)llons of body positions and body shaf)6S, incJu<!ing sh<xlidor p/iloom9fllS, show his k.nowl· iK!{J8 and ability to 8118iyse 9V8:y tiny body mo,.,mont In 1818ii0tl to tho loot p!(loometlls and, ofoourse. 11"1 musk 8lld Geollniy has a Bil in this oxcel/ent book This is gc<ng to boa groat help ro II>Ose studying lor prorosslorull exa!7J((Ja!ions Oll<lltiOS8 t&&ching oomprJiilive - 10 po/Miial c/1/Jmp/ons. Many Cong!8tulalions Geoffroy.

RudJ Trautr: n musllsko d6dic8Loo. yeor.s and years of eiC,06riellC6, a doop I<MwliK!{J8 of whst is- b6ing dsnce<J atld many mon/lls, If no! J'$8!$, to wrRo suelt 11 book. Gooffray hos done a ftmtas~c jcb. This book is a musl for ovortlooc/J(J( and dor.cor who vr.JI1tS o doopor in.s!ght into what is happening In Letin AmoriCiln dancing. I 8nl \'&ry proud to"""" b06n 8SktJd to v.rft& a I&W wort/sand I musl exprosa my lldm8Biion for lh8 VKN1< Gooffroy hes den&.

Oliver WnMI·Tiwnt!om: This is lh8 book that..., MV8 wa.'!od lor. for a kX•g ~ms. For <JI<Jc9<les lh8 danoo world liwd on llo1 o.isdom of Mf. W8J1or Laitd 8nd rig.'>lfo.ily so. In thO me!J(r!jrno so many devslopmencs havo 18/i&n p/ac& based on Mr. l..aitds book bl.-1 ll"'y have nover been written do""' tar<M;ryon& to Slvdy. This must hsv& own an Utl9f>viable lasl< lo clo. f.vtJry {Xlf'SOn intorostod in Lllfin Dan<ing: d8f)C(H'S, toll<:h8rs, ooachos. ftidg&s oo<J o11 other int&1'8st&d poople should 9dd this book to th8it libraty erld study it reguJa;lyl Geoffroy./ SBI/110 you!/ W.-th d""P resp«L

7

8

The Ortglnal Technique

The book, or'!)iNiy put~oShod by the 1a1e Doris~- dltsat>e<l in ~noc:al fotm lhe Lalin Am<lhcan. figures as '?"'"' "''Ill hor l*tl*lhe c.te Piemt - o Frenctlteacherlioringand- ing In London ·whllll Vlsi!!ngCUba a!16Bmzil during I~ 1940sand 1950's Thlsgavelhom.,. ~ otltie Rumba. Cha Che Cha and 5all'ba figvtes <t8fll*l m 11>ose oovnttles. Tn..· knowledge ol Paso Doble ..,.loom Piorro'a French ~and the Jr.re hom lhe Amoncan soM<:e men and"""""" baSed;., Eovtand clunng lhe wt~<l*focl d 1942 ..,.....,, This b0o1: be<amo the basta of 11H1 oxaRWWIIlOn s~aous lot the ISTO. The lace Owncn PeUidcs - aliiC:Mtql.e olllle 1\gurao, .uo """"P~O<! as a bass of tho e.um nation a~abus IO< llle ISTO. Thera w.» a b g otnj)(OVCment ""*' 1110 • W..or Lud -. a <!o8nitive tecMiq~ 0001< i'ldudong In IIHI lechn;QUe. the a~ requl-ed, leacl and tlly!hm><: c:haladeroleach ~. 111is being the oxamination sylobus olthe IOTA. Lat« the l~Amenoan Faculty ol INIISTO t0Wrc4e tho todlo'llquo of CIWit sy:llbus i!glns. ~aled n>e<e recently. UktlWIU, Wa'tet L"'rd had ccmlniCusty rOVISO<I his boolt 1o< !he Lalon ....,_, Convwll<>o o1 tn. IOTA Both""""'"' on dJit~ books ora oxc:e!011t ovodo$1o learning Latin Ame<lean OanCIJlg through lhe l.leclal Gnodn. IO ~ f.wmonalions and Compotolfve danclng Tho writ,ng ol the Teclmique ~evolved by StUdying tn. ~ IJsed by the lo&dong c»vppes of the day and have stOO<I Ihe test ot ""-· tl..........,, tooay's act••~ figures w<>ro noc lnc!tldO<I. The dtve:optr1ilnt of posture. mythmJC knowfedgo and ~d hM en8~ presonl Champ:on.slo U$0 lro oros.,alt&ehn'qua 10 croatolhe r!¥hm. power and heeclom ol movement p<lrform<d otlhis lime. This book ""'K explain 11\e devel<lpmonls ond prov:do !ho tOCilnlquo 101 many a<!VMneod figures.

Tachnlque always fOIIOWt lho creative t!lent ol U!O baleneod. llly1hmk: perlormO<. so with tlto de01111<lpme<ol ol posiute, tllythm 3nd lead. coupled wth 11>0 wish to be more P<>""tf<JI. wesco how $1""9'y 1118 lechn,qu611as de•eiOpecl. Couples. whO Mv& como !rom di!!erent Wltute$ ato<.Wld l!>e wot1d. have also acldO<I Cl\eng<~ ond 'colour' to tho excnssi<>n used in many ol the rpgures .

When 11wt da"'*' hal deVoio!>od control and d.'sciplooe IIIIOUgh ""119 lhe kl1owiodgoo gillen ., The Latin Amenc~n TOCMJC!UII Books INy wll be -10 rete- lhetr alliily mlo grea!ef rnoverMnl end lhy11wn by cloY1)Ioplng llle -.q.,es descrl>ed "' this boo~ •

~ Is the ·~ 11\et those us:ng litis book wll M¥0 a ...,.kong kl1owiodge oil/to vocabu!aty used on Clle orogonal boolts of l&ln ~ Tocto>lqUO. Thetelote. the names ollhe Sylabu$ foguros used and 1he desctopbve hcaoings ,., the cherts ""~ bo rocogniseC>Ie 10 - OOt'llus ""'·

RIM&Fall.

Thla 8Pilliot. in ~r. !0 the PetO ~ but -e nee. of • t.gon In 1110- danc:n. • uary, t!>we is reference made 1n the Noles

I fe« H .... Important to lido not only lito IJinino but "'"M ro3<lthe fol1ooN!ng Cl\aJl(ore and In p~~ar. ;:: t~~": ~at vakJes ~net counts in beAts and bare. P-'108 17. l>le onT&cllnicaiOeAnltionsyou,..;llfl•ldon

Introduction

I tlavo t3ug.ht darccing for m~li)Y y~ars. wo11<ing wtl'l V:crld Cmunpions and Other Championship dass couples. Havfng wri11co the Lette~ SArvtco (lator :~11e~ lhe {..horeographer), wh~ch I tcok over from Alex MO<Jre and producing Videos shO'o'lfng c-.ompeti1ive danc1ng, t thought lt t:me ma: the teacher and ccn·.pet:Hve dancer had a book. wh·ich p(ovidOO ~h~ technkjue of the (•gures uwd at an advanced lovoJ ... A Techruque of Ad'lancect Sta•:dar.:l Ballroom Figutes'" wtts completed anti oubhshed :n 2004 and has proved ~xtremaly popv•ar, being used by .both teachvrs and d~ncers alike. Thofefore 1J~is boO< is a sjsl~r votume \ind 'fflll enu~e :.eachers and dancers to study the Advanced Figures m L<::lin }".m-.;rican d::.ncil'lg. By study1ng iOOMCoa• aciions (w.d applying teaching tedl­n:qves gaine:J over the years. f hnve beetJ able lo complele the bock.

Some of the ledmi<;.!Jes m3y be conskrared co:lteoticHs by leading ooaellcs wh<> h3ve their O'Nn par1icuiM methOd.s: ol tea:'Jl,ng tl'le figt:res. J.oicw&..;er, this book w11 give a logical artd p:>sitto.·e method io dance the figures and when thytilm and talaflCC arc perfected it -Ml! be possibre to 'hone' the figures to fndtvldual reqH·reme-ots.

Please read ~he first cl1apters containing the develop:nenls and c'efif'ilhOos. befcre reading tt•e- techmque of the rndividu~ figures, tn order that th& re!lsonlhg behmd the tecimfque is c1ecH. Of course, these chap~ers C.."l>, only give a description of body mecharucs. requi.·ements c f 1he phys·;cal l aws of movement and musicaliry lt ., .. ·outd take an ency·clopaecha to explain 111 full what has taken so man;; talel'lted cancers so many years to develop. ·Ne rr ust t e ever thankfur to the founders of our form of dar.ce who we1~ ab!e 1<> show and exp!aln the ne::.;,ssa-y t9Chnlque$ to cre;;(e movement of ~ua!ity.

In this book, the technique c f I he Advanced Figures follows a chapter on the Strucwre and Charae1er paf1icular to ~ho individual Oao<:e. Tnarefo:e. lhe detailed description cf the fundamer.-ta) aclicns and oaoossart mythm, wr1uen: (n thtS chapter ano .n Ute chap­ters of the Slruc(t.He and Character of the individual d~mces. provide uu~ koo'Niedge needed to perlcrm to the full. the t.:lchniquc written in the charts of the: .:.Ovanced figure~.

Over the years many or tJu;: famous names uo -our art fc:m of Dance. have- contribu~·:!d ro my knowtedge ahd themtore ~o t1;S bO<)k There me !hose 'Nho actuatly gave me advt<'..e through lessons and 1hose whose WOfds during lectures pro\•ided me vtrth ~as and 'teaching (;ps'. Ma1oohn Sttr.v3rt. who tra1ncd D•ana and me for all of our $t..1ndard Ballroom e>carnioations. givi•'9 us thA wish ''> mat-tAr all<> use the Tec.'lntque to ttle f\.l ll, Woild Cham;>:on Wa!:e-r Laiid, who as our main Lati11 American cornpctJ:;ve teacher, gave vs a lov~ of the body rhythms, wh;ch can be crea~ed to good Latin American mus1c. World ChampKlflS Peier EgghHnn and Bttmda W1ns1a<:e. wh<) 3S our rn~_tin SU1odafd Balicoom OOrllJ::€tifive !et1Ch<!rs, prcvYJC:d such an insigh~ ~nto the mEX:h3ntCS of tho bOdy ond mythmic JJJ>· plication. which I beli-eve apply~<> .11any l atin Arnetlcafl mcv&mettts LeCC.uter$ and \•ootid <tumorities: to,ran'le -Aian and t<laz~ Fie-lchet - Oonnrc Bum s t.;IBE - Cohn Jarnes and c;~1ors. •....-hose wcrds I q• . .1otc every teachinn day~

r· would l1ka to than~ my ..... 'iro Diana, who as my pa·tncr hctpod me learn so much and now has been excellent in her triteism anc! edUing c f my written wo;ds.

Also to Dennis i((usc, a·1 excellent graphic artist a1d dance teacher, from Oss in the Nether1ands tor the wo.-1{ he-has done trl de­sigJl in:g the r.over ot the book and for creat ng the print ready ccoy of the text.

Finally, my l)ea1-feit thanks go to Petra Matschu!Jai·Horn. an accompiishOO <lanoor and <tn excellent teache-r lrom Cologne in Garmany. whose enthL'Siasm fer this ~·roject ha>lpeo:; mA to cornpleto the book. V'/ithout her ass:st3nce. it would h3ve. taktm rna mucl) iongar to wnte •r.e many figures. ? e-ttCl prvvlded an understanding ol the larmnine requ~rements of up to dale l atin AmEJrkan danc­Ing. Studtin9 he:r work in many o1 the Genna~ l'mateur Clubs she. trains. prov-etl to mo my long held belief in the impol1anoa ot ~hff exercises she uses are to the dave•opm,wt of >:our,g :cmpeti1h•e dancers - a number of these exercises you will find described in lhis book.

·ro become a Champion study 1h& techniqoes, t!ien practice Posture. Postt.Jre and Posture. Use your hoad and bOd.Y weighl to mov~. understand the settJJI'Jg of the body weight noccsscry to rttythm;ca!ty conHol your movemenl; work your f&et a lid hsten to 1he mu$1C to enjcy the feerng c f rhythm a nil movement lhat gi·,es such pieasuta.

Efljcy yo::;r dancing

Geoffrey Hoam

9

10

The boS s 01 01.< leS!oos w:th Wa'iy wos a 'Ways on cne teettniQue of nature! movemen1 usong the lormat lte had wnt.en "' hiS teeh­n.<;"" DOOI< It$ re<;t:!!'cmetll was lor llle "'~ ot tl4> rhyth;n on every wa'lMg move,.,nt on tlte Rumba and Cha Cha. Tlte SaJrbo wu a fool ar.d knee dance. Jove a Sw.ng dance and me Paso Oot>lo a n\4ldl "":!loUt body thy\h'Tl It was at this time he .. ~~ cne basis cf •~ open tL'Il!. rcw koown "' a Fctward Wali< T urtu..g

Rtb C"9'1 motlon II wu 1101 un\JIIhn ••st.• to~ UK. to danec '"!Ito Bra.,n Open Cllan>pion$lt•ps, by Amencan Profess.onal COUPIOSIIl81 we became aw~ro ol IU> Cl)90 Mol~. a movonl<lnl of the b<l<!y I hal was widely ll<:Cepled In the USA. wtten <1anclnq thelr form or tho ~atin doneo• cal.l<!d Rhythm. Wh6n this was MalyS«i and added to lt>e Hip Rhythm a!reody oomg used. thO posture sn<l ob.ltly to move the bo<ly we!ghl ~~ bcc3rne oppor•nt. o big step loiWard in the sG<Jr<:h lor compl<lle body rhythm. In I he Ml doscrfplton or indl· viduol movtmetlts. tilts reads as 'lower rib c.age to L (or R)' to empllas so lha! the body coes not lean to tho s•oe

Hlp ro10Uon II wu during the ve<y ~on;! fci9n ol Doon.e Burns ~'BE and Gaynot Fai._a~ MBE, holdlng 1118 li!lo o1 World Proless.ooal Cl\amp'C)Ilt. 111111 strong ~Oialiot> olll'.o h.ps OOde<l !lf03lly to tho quality or body rh)l!lvn and p<OYidi!d tne pon>baly of ma nlai!1ing po<1ec:t llOOM t . Allllal time, l.;!d.cs nad begun 10 Cleate a more cucular h p tnO\Iom&nt Willi the men US."!! a more mgular ap. Ploa<h Now Ooon1e and Gayno< W<!re both uo1oQ s110ng Np •o!8lion$ fn a'lthe donoos

Seftllng tile $houkl<tr wtlghl

T=oto tho::"""' mo- s wrth lull body thy1hm and oase <>I leg aC1Ion, 11 is O&sonVIIf to settto the should or weigh\ over 1110 ~ ng leg .• enable a rhythmic ~r.d smooth weight ch""9'J rrontloot ~o loot This >S uplained in delait. in tM lntiOdveto~ cMp:er

each <lanco, GISo. ••••oses. wl>ieh help to porfoct this essential roqu'<omcm or Lalli\ American ~anclng. aro given.

Addlllonll body rftythm

All tho ~ ~nee.. nave coo<mUOd co develop eve of • · 1o1m wi7l Culd bocti 11\ytvn <hrougllotA tile lunda ~more use body 11\ylhm. H tslesanalong to see how the Champoons po!· wilo<t a oa(ng S!>Odal 'Nv<>nn men figures and a tLons of the danoos and are &ble to 8dd add:honal nuances

--·-.<aphy. The -I aceta mal<ola~n Amet1c:8n dancing e•c.ttng to P8lfOim and to watch

P••o Dobis Wh~sl maoy ol thO above and following noces apply co !his dante. it doos have a V&ty Olllorent application of pOStutO. sl\16 and mythm to por1rey thG ehatacto! requifed by this particular ~le. PJease study the !lOt$$ given at the begjnniog or the Pa.so Orob'e chaptor. Tho developm$-nt of thiS dance has been of great interest. as it ts danced w1th as much at1e:ntion given to the muscular actr.,-i~ of tho complete body a-s is given to the other dances.

Development of Posture

Po$Cure is one of the most im,:x:nanl requircmCflts for any dallC(Ir. When the body h3$ perl~ batanee. the daneer will have the op.­pol1uoity to C{eate a perfect rh.ythmic action. n is inte-u::sting 1::> note that with the adv~nt of many cevt»&s from the eastern Eur()P'ean countries, now dan.dng in fntctnatiooal Latin Americ..1n championships. there hC"S beer'\ a renewed interest in posture. They have brought with them an understar.ding of ihei.' posture duo to uaining ln other forms oJ dance and _indeed other sports. Tho freed-om lhey ht:h'e 3ehiavc-d in crealir-.g 031Dnco. body rhythm and SJ~ed of action t. boauttft~lto see and has now become the norm for aB high·tevol da<leers.

T&achln-g Tip. To find tho •tertica! line through the contre of Ute bOd}~ ron quickly in pfwce. Now stop and yoo are in fhe requ irvd v~rli<91 poskion.

This most nattJtal of a'l human movement places the centro musdes cf the body in the COfrec.t position: th;-,t IS the muscl£!s from tho. groin of the body lift, untM the b-ell hne •s horizonfat This is nota 00<\troction t>ut the notmal position ot these mvsdes when rvnoing. The support given bt thes.e muscles. to the upper body, placos t.h.e neck irt the ver1i<'.311ine. eentra:lises the he-ad aod provides sup· port to lhe n'vsc!es hokfing the! atn)S; when In danoo poSt(fOn. Th!s wiil auow a constant line of balance throughOut the dan<"..G.

Teuhing Tip. Stsnd, n!ooo with cemte muS<;Jes placed ;,s <Jesctibe<J above. lek& the arms in:c me POsition requfr&d by tl'lo hOld, lhoo relltx tho gtot'n muscles and te-sf t:ow much heaviet the am1s becomf1,

Body Centre It is important to realize. that if standing in this vertical POSture with fee1 apart al"'d wei{lht eenttoo betwoon them. the shoulders wll naturally be parJJlel lo t~e lin~ of the feet. Whilst ip this pOsit~. using rtb ""9'1 motion, and/Q( rolal~ of thO hips, whether there is might change between 1~e Ieee or if !he body weighl is hold between the feet with HOe or no Change. <he shoulder line w!O remain parallel wch !he feet. It Is this Sl~ln&ss l o the shout<lars. which &oable !he partoershlp co perloom strong indiv'rdu&l bo<ly rhythm wh•st in a pOsilion of a balar.CO<l hold. The feeling muse no1 be of a tight and stiff upper bo<ly. 1M of the shoulder weigh! hanging down lhrough lh¢ perfect posture.

This stiWness of shoulders fs also apparent when a couple a(e in an Open Positi::>n with oithor a s:ngro or double hand hold.

There are of oourse moments in cho<eography where Shoulder tum or Shaping is used: designoo co create a <lifferent shaP<> and therefore providing contrast to the usual appearance ot the body in movement

r .. cl>lng Tip. Stsnd facing a mirr<>r wilh f(J(Jt apart os desr;nbod abov•. Sfl.ldy lho cer>lnllln8 of heiJd and breastbone ond S(J(J. l'd!ilsl exerciSing {Ira nb cage tJnd hip rotations. /raw !his shotJkJ • lk>w Y1e shor;lders :0 mmain squoro to tho mimx. Also, $1.vdy lho roiJJxerJ muscular slll1cturo of the shouk!ets lc avoid • sliff b8Ck msfJicting rr.e fre&dom of bo<Jy rl!y#lm

Development of Body Positions and Hold Clo.e H<>ld The oarly C<lmpetitive st)'1e o f Latin Ametic<ln oanci ng devok>pod, In • similar way as Standard !!3Uroom dan<Oing, f<om the social lonn of lho dance. Indeed tM original examloacions to qualify as a ProfessiO<lal t&acher in !lie l.,1!in Arnorican slyle, requirnd lho candldale 10 shew every compact fonn of the figiJres, caUed 'ct1J$h' dancing. Thero has boon a change in tho hold. ever the yoars, similar to that soon W> comP<J!itlve Slanda<d Ballroom <lancing, as ther& is now greater volume whUst danelng in Close Hol<l. allowing the pO~reyal of the charaelor of lh<> oancos co be wiU1 greater ef!llC'. The Man's right t>aoo has risen from a pOSition 0<1 thel.a<ly's lower back to belng jusr under tho line of her a.rm. ·Nith his wrist givin:g a slfght suj)pOrt to her upper ann et the point i1 ;o;ns her body. The Lady's left ann is held. tighdy, on lhe Mao's right ann, with her left eibow just inside I he Man's right elbow line, so that her left hand is r8$\1ng on. or just bellln<l, his rigllt shoulder; tllis creates a CU/'JB of her left ann aoo not a sha;p angle o1 elbow as seen In lho Standard Baltcoorn doncea. The joined left 10 right hands are held halhvay betweanlho partners a.boul faee ievol with the Man's palm facing towardslady'a head, so tt>ere Is C\JfVa lhrough both the Man's ood l ady's elbow 1o elbow line.

11

\2

• 1

, * 's h d . nns and upper txxty and the feedback thfcugh a simllar tom) from the Lady. h •s an equal '""~'; o,~~~ityth~~:~ ~::':: fol:~g athe rhythm and direction of mowment Therofou>. tho Lady i$ able to react whicll provides !':' I ·""h h's body w""'ht nn<l ohapa At aU tim<IS the hnn<ls and arms must allow tho Lady complote tC) &IJCh aetiOCI the M80 Cr&a 8S "'" I. v•~ ·

fte.edom of ba~ance end posture.

TH.chlng Tip. Think of ho{ding Iff() Lady tM samo way es you would hold a trdy o! boautift:/ g:assos Ml of the best Chorrmagnc Always looll>l: 8nd in lro.•l of your body. Tho tone ;n 1NJ (JI71>s and t!lo ai>My to oX{XJnd tM am>S from elboW to hand shou><J alWays enabill tM Lady to main!sin. 8nd itldli&d to llfllorge, the vowmo olth8/>0kl.

Contf.ct Hold . . · · h h Tho hold cHld ann positiofiS wiU bo similar 10 dancing in C\ose Position, hOwever the ~es. wltl a~sume a ~tact POS•!.on ~ _t e Lady's cenlfc of her bo<ly tine in contact with the line taken from the centro of tlle Mans nght.'h t~h to his nb ;:age. The hetght of contaCI wilt vary acootding 10 the donee and the ~gore conce•ned. For example. genoraby tower m Paso Dob.e and hoshor 10 the other danoos. In the Pa$0 Oo~la, when io Cont.ael Position, the joined hands are oil on high, or tow to be dose to body or the legs. ( r&ating a strong &ffoct.

Teaching Tip.

Close Position

Stsncl togei!K!r in Contact Ho/<1 will> Moo lacing 3 mirror. Now SlOwly Ch8flgo lNJ body Sl'.epe, 8<1ft.sling tho joinl!<l hands 1o <1:/forofli shof)6S to croalo the chM>crer requ.it'Bd for tho parl.icuiar liguro or action.

The sam<t distanoo apart as ClOse Hold, txrt with only one hand 11old. Oouble Hold or without hold. Used when a closer posi\ion of the bod)es is ,equlrec.J than Open Position, to move .rHo Opotl Counter Promenada Posilion or othor suct'l posit•Ofl. Advanced fegures such as Doubled Cuban B•eaks in Cha Cha Cha are examples.

Open Position Standing lacing pa1t.~er a! arms length, it is possi~to to use the ro!k>wlng holds, depending on lh<l required choreography.

1. Left to Right han<! hold With tow joined hanos: Man·s t hand wa1 hold la<l)fs R nand will\ his thumb on the top centre of her hand, pointing olong tho fille of her ann. His first two fing~rs pi<Jccd into the centro o-f her palm with a sllghl pressure between hl s thuml> and fingers, therefotc holdiog !l1e Lady's hand fin"Oiy. Th1s hold da€s net restrict her flnge~ so that the Lady may style her hand in an anractive lom'nillo way. 1'/h~n Slanding in O~n Position the joined left to right hands will normally be equidistant from coch partner. with the ~no of tho hands just to the outside and at the level ol lhe Lady's right hip. Holding in thi$ way allow.s the lOad to be n<>ar t.l\e centre of gravity or the bOdy, allowing balance and easo or movement for the La<ly. In this position. flex the_ joined arms. at the elbows, allowing the posslbiity of extending !he t~~ms to c•eate the reqlired movement and rhythm. Th& wetghl of t he 101ned a.~s and hands musl loel th~t they are 'hang·,ng dOwnward$'. When leading a weignt change to an exten. s10n of the Open PosrtiCn. the 10or1Cd hancJs may n~e slightly 10 o !<>vel of the Lady's lower rib cage.

2. Loft to R;ght hand hold with high )<lined hands: Matfs L hand will hold tho Lady's R hand in the same way as lor Close Hold. However. the hOld w•ll be lo-w-er, lUSt below l ady's shoulder height and siJghUy wider than shoulder width.

3. Right to Right haM hold with low joined hands: M•ns R han<! will hold Lady's R hand v.illllhe samo technique as · bo lor Le~ to Right handhOld with low ioired hands. Tho posijions of hands wm normally oommence ll<l.Uidistance fr gtven ~ vrt~ oor. w•lh thil hands hetd en tho centre Line of the bodies. om eacc, pa

4. Double Hold with Right to Left aM Left to Right with tow joined hands· tak<l both hands in hold as d ··-~. · · O~lvt.-u 10 paragraph 1.

5. Oouble Hold with Right to Left and left to Right with nigh jolnod haMs: take both hands in hold • d .,_ . a> osen.,.,d '" panlgraplt 2.

6. Ooullle Hold w~h Rlglttto .Right and left to Left with low joined hoods: take bo1h hands in h ld . • lhts shape ot hutd th~ joined hands cross ever each other with ciiher the joined R hand tlto • ~tt described 10 porGgraph 3. In on th• chosen eho<oog<aphy s or e re~ned L hands on lop, dep&nding

1. Witllout h<lld: in tills Open PosM!cn tho dietanoo apart rt'Uly vary. however. to maintain an intim . Lady, tf>e majOOty of Ume wnan danctng v.ithout hold, ll>o distnnce Should bo oimJar

10 a!o co~, be!Wooo lhe Men and

S1U<ly tne u3e o1lhe free •rm• to aid tho 'lloual load and tho musical ctwa~er of the da lhal whon danang In hold. Jt is important to noe 'when there Is no Phl'sical contact.

Tt ochlng Tip. To o!lderstMd/M leeiingoftt.o weight 011/>a hands 11Mgif>gdov.r>'try 11>11 foliowrng. Slwdfi:x:it>g P8llner a1a disttJnoe /JpBI1 of a notmaJ Opsn Po.s:oon. w.'m Ma.o'$1on haM hfJid !IYW&I<f"' LtHft'S .righll;'p h8!PII with patm hold upworos. 11>e Lady will hold hlx nght atm oxtoo<lt><i forwatd 01 t""Ch$$1 hoig.'lt w<• hot right haJ>o hfJid- IAM'slttfll!l)nd, wilh l>et p6lm daVfiWiNr!s. Now &<k Lady to dlop her hanrJ or<o tho 1.11)1)'$ h8nd. nlls will g1vo IX>Ih ollho /)OJ1nllrs flwl (M'ir>g ollho l .. nd OOt>I>(>C/jon f&QW9d '"""" p!Opatfng tho hold .. Open Position.

SolO Position The<& s<e n>any di" orent posiOOn$ usee whilst dancing withOut hold. Tho descriptions ate m tile chapter on Teehnleal Odn<tions. ro wha!ever chosen pO$iCton tor a p-articular f..gvre. at ls importan11hat the dancer is f\.ltly aware of lheit p:ar11\ef by Y\sual connection and!Ol body language. to ma.ntaln !he chaiacter ar.d art ol dandng as a coo ;>I&.

The ab0v9 a.re lh.e ma;or pos.il~)O$ used in. Latin Ametlc-an danel'l'lg with the c1h&r posJMns vsed described tn the chapter on TecMieal Oe~naions, from paget7

Development of Free Arm Rhythm

A much more ditftcul1 sub:eet to define tc-c~n!ca!ty, at a higJ't level m lalin Atnencan dancing, Is lh:e us~ of the free ann and hand W!'ulst danclr~g a particuta: f«.}v1e, ea-Ch chan,pionsh'p class couple has ~~. dJ:sMctlve style and arUsuc approach to th s .sutl;ect

Original concept A.t the lime fl.e ongtna\ techniques were formU:ated. the free arm and hand pos tions wore described. for the eompeb1N·e dancer. as not to be e'Xagge.tated and navar to be ralSe'd abo\."e Che shou~dc-rs. ThiS of course was not ju-s1 fot the p-ur .. ls.ls roowrel'1leflts out ajso beca-use lh& Man wore a Ba11roon1 tall SUit for !he orlg irutl L.arjn com.pcbttons and ta~r wore a dirmet (smoking - as i1 1$ k.rlOWn '" many European CQ\Jnlties) su1t. Any h\gh arm ln~s in lheso clo~hc-s oealed a very ugly shoulder fne. '!fAA the invoductiOf\ of the Catswl · or.e.p.ece swl· for If\& W;an an tho late 1950's, II~ arms W...amc more expressive. although the purists agsSn Cl•tiCJsod hi{;h arm use.

Tcc.hhk:al Description. The oriau'lal technique books described lhe use of the free arm In a baste way, a movement towaJdS the bOdy as partner$ cfos:~ towa1ds each olher and away from the body as pannefS f'nO\<ed tl\'toy from each otoor. This i$ tdeal for sooal dance and Indeed the coi1y tr3ining ol Modallisls.

Artistic ROQuiromonL In up.to-<lr~c ad-danong the am1 movement must comn'M!nce from tle use of bOdy myt;>m and felt ~om the bacl< musdes In the Paso Doble ~e may be a separate arm action lo that of !he bo<!y. ple.<Jse see the inlroductot)' chap!er of t11e Paso Octle. AstistJy ar.d cmtadcrisa!ion is awaret•l til<O\Jgll 5>0od use of arms ar.d hands and os a .$l.Cljoct of much s!udy by t11e asp;ring danCe<

SUggest&<! exercises for rhythmic ....,~.of anns ond hAnds

To commence-U'le educatron ol o meda!aist Of' compolttor. in tho vso of the ftee arms tn L3!in A.rnerican da.ncmg. rt is a good idea to use lho Pott ckl eras from Classoarl ballet. This w~l provfdo tile knov.l&dge of the shape of arms whon Mkl away from tile bOdy and a cea!izauon that lhere must be nythm In arm. ancl hand movements. lt is a good idea to use a s!O\"i Runba rhythm i.n order to have e1101Jlih time to< the dancer to r><oduce the necessary shapes. Use q~icker myt11ms later. as IM vse ol 31T11S Is d&vek>p&d.

1 Port do Brao . . -11 C<lmmoncc Wlti1 11\e fE><l( aJ;aJt. weigjlt cen~&d. aod n pOSSible facing a nOJrror. N'.<1N t11e arms 10 hong naturdlly lrom tho 41 shouidcls. (f'eel a cutVe"' :h& ann. by lltlaS•ning a I(IOf)IS t>a!l 0&11'19 hel<S 1n the a<mP!i.) Tum tl18 hands inwards toWards each olher, the Iiili<> fingers jusl touching 1t1e :=cn!nl of tho thlglls. 2

2 Malntatnins~ tile hands in 11\e same relalionshlp lo one anolher. talse the arms to upj)er chest helgllt. 34 -3 Ooon boll> amlS to the s>des or the bOdy without turning me hands. t so at the er.d ol tho movement the palms will be loor,glront.

f-. Tum llaoos from the wtis!S so palms are laclng downwa.rds to tho lloo<. 2 - - · 5 Lower arm• si<>My to th& con'.mendng j)O$iUon anow1Jl9 hands I<> ·ftoar downwards by 341

<leiaylng th&rn stigll~y so hands appoar to have boen poolled slightly upwa;ds from the wrist

e Tom haods from I he wristS so the pa!ms are tumnd tnwards towards each o!hot, the little fingers just touct<ng tho cenue or the th(j)hs.

2

R.~althis action a number o! tlne$ and thon to s!ow Rumba mus•c. Wilen comfortable wnh this ld&a. add lho foHowing:

2. Port de s-fo< High Aim Potltlona. • 34 RolM ~ armo os dt$CI1be<l above ;n action 2 bu\ condnue urilit~t>ey o.ro high above tho Mad 'Yllh the palms 2

sSt taong lnwatda U>We< tn. arms to 111e sldGio QhoSI height w,th tho plllms lacing vpwarda.

1

' 2 4 TI.ITI haMS from tllo W!Mt so plllms .,.. Ioong downwlltds (O the fioor .

3412 S-6 Continue !h6 oxotclselowcring to the commonclrlg po$1tlon.

3. Port c10 ern lot Alttmotlng High •n<l Chest ~lghiAnns. Tho oboYe oxlfcise _ numbo< 2 _ may be used wilh at.ema'•ng use ol the anns·=~· ----- ----- ----,- 3'4 2 L IIITil taken 1\!gh and lhO R anTI taken IOIW8td IO ~ Chest he'ljlll l 3 Larm-eo to L skro •• R a:m Ia oPened toR side=---- ·----- - - - __ _ 4 Tum ha,.,.lrom 11\e Wfbts so pM'ne -laatlg --10 tho floor. 2

~ eona .... o tile exerc.so f.-,ng to the ccwrmenc ng pos- 3412 j

Ropoa~ vsfn91.he R a"" rno:M-19 hQI> and L tml tnOV!ng 10 the $do.

• • c..-.uon oltmlt wtlh. '"'" logs ancl body mylhm. V.ben ene ,...,.,. ..,. -to"'" tw ..,. my.lvric:;1ly as ~ 1hcn Ollto<tJoe a t..o bar 19We sue!> as a Hockey St.<!< Of Open~ T-10 be ao1e to -l'lo use olatms and hands with lh3l olllle fool p<Wlonand leg actJOn. This ,,. be o!~ 81 ""' t>egRllng w ""'-wth -~-.~so IT'Oich In undcl<Sla,.,.,.,g tn. rtly'Jvn o1 the r.ee a:ms will> lila! ollltt body r11)11lm. Forst of a'! .....,.,.,1 hold uSing botllltmt as_.,, (hen Wt:ll L toR ha"" hQkiiO COOt~l>a:e free arm \Yllh lte JOtned arms.

5. Aavanc:..d am> movomtn~ eommenctd fro<n thO body lftylhm. Fi!Sr of all exllfci$e tho ·~tt!fng we.gilt' actiOn fou!ld In the Rumbalnuoouetlo<> ol a Forward INa'k, to $!OW Rumba mus.e. uniJ the danoem ar& happy wilh th<l rooting or using lhc1< body we.ght myll\mica11y. Now explain how imponant 1\ ts to feel 11>0 orms connec:ted to tile movomcnt <X 11>0 body woighlond 11\ot tile boey rllythm r11\l$l ftow from Ole bac~ rno.r.odes. ll>rough tho orme an<1 iniO !h6 hand• and fngo" To u~ tn1s a<:dlloi)Mi rllyll\mic action we wtl""e the R.Jm~a Focwatd Walk as a base. bcfo<o uU19 othOr mylttms and 10 make tho oxerclsc oven slowO< wo will te~ twO bealS for each Wa:t<

To mal<& sure 1/Klre \$no Wl1$1o<lln tt>o body beJoriltertlng 1118 exercise, ao1< thO <loriCCrs l.o shake their arms fr&ely.tii<HI Iegs freely and lOOn tile CC<r1j)iote body. When !h6y are ()Ompletoly rul(l;lod, create tho oxotcl$e wHit a very slow count as follows:

Comm<>nce laclng a mirror H poulble w11h 11\0 correct po$turo and weight on LF • . 1 Sell!i>g left Sh0Uid4r WUQ/11, RF tv.<! to a position o4 ~rt wtlghl mlsi1111!19ht ann doagonally lotwMllO jus! below

sho<AOet hfflghl, f.r$1111e uppr!f """ !rom 1hO oiOOw. 1hOn tho forearm and fltl8fly tho h.'V>d and (nge<S. 2

2 Slo'My ~ tile fiJil welgN ~. ~ 1<!11 hand on upper erm """'tle allo<Adcr and 131> tle (rgcrs M ij ~on • piano, a ~eM ol nlUtic: down Uooaom toU\o \Vflst lole>911he stow and tllyihm;cto.o.'llmg oflhc t1ghl am>.

-&a3&a

3 ~ t9>l ~ woighl. LF l<l<wlwd 10 • posotiOn of p;v1 weight; raoslog left arm di3gc>naly forward to just 4 . belOw 11>0 SllO<IIder ho;gt.l, flnllho ._ann from 1IHI elbow. !lien 1/lo lo<8arm and finally the hand ood fingers.

-4 SJa.vfy <X>M~ tho 1111 weight~. place right hMd on l4)p()l' le!l arm r"'"' tno shcxJ!del' Md "'P 01& ~ :l$l pb)tlg a tca1o ol rnusoo on ll\e plano down 11>0 orm 10 11>0 'Mf.t10 teet me sloN and l1lylrmc 1owemg of lhe >eft &m\.

&al&a

.

6. Othot shapes which onhance the muslc;.el cheJaChtr .snd story lln11 of the dane... Th6lady gcnora!ty uses the so shapes: allhougll som&ttmes lhe Man may vsc a snruJar st~ape wlth a stroo.g m.ascvlino eftttct.

a. Hond or Hands on Hips. lhi$ pos~.., roq<Jiros ~ strong Change in 100 upper body shape., caoruro !he charaelet ol 11le sto­rylol1c •• t116 danoo. ExaMjljes as lo!lows

L W~h feet apart 31"\d most \ '-'eight on LF. p!ar..a t nand on L h,p with l eit>oW 3llQ1cd backward RQoso Lhip hne and" turn uwer bOdy to R. Eye$ w1a focus direct!)' eorward It R hand and arm ate fr&e U1en they may be r<ri:$ed h~gh above Ull6 head with hand t01ned out (aM 6h8pOO from tne wt\St w 1th pa4m tOWSid& the Boor.

n. As described Rbovo wtlh R hand <t!so Otl R h~ wflh R elhow ang:fe<1 baekwiird.

Ill, Wl!h fool toge:hcr and tul1 we-ight on RF ul o Sit Una. place L hand on l hiv w i'!h t e lbow 31'191ed backWOr(l Turn upper body to L. fye s witl focus shghUy more to t. If not bel~ used in hold. 1t is poss£ble to ro~u n hand and arm high above the t\e-3<' wilh hAnd turr«ld out and sh-aped ff()tn thO Wf•S1 With palm tct-ovards u.e Oooc-.

b. H1.nd beh1nd htad. Thl!: often vsad to onnnou u~c op'-'t>:)ltc hand pl?.ood nn tM h 1p. AooU\Or oosi1lM mlly be on <..-Josing s!eps, &Uch as in thf} F:m Po~ttion. wrth L ho•ld ~hwld h<'ad. GOUflt 2 li'JA nand ~Y con-­tinuo to tnu.vo co•.vnw.~(ls tn lr(iht con1.e.ct with the eonvu of l.hc bodyf.lf'lt' on I r f01Ward. Q')\lnl 3. conti!lu1•'19 Quhv<uds tu a 1rwce uortnaJ PM!ttOll on t.QOCII_ 41 .

c. Othor h3nd I>O"hions.

U. Ha!XIs or' lhi{rhs. ylflh both kn&&.s ~X.ed w~h wetgh! nn on& fool wrth thA o~her on h:'IJJ oJ foot only.

IV. lady. pushong a !tee h&l\d upwards through lhe bacl< o! her ~:r.

v. Arty Olhftr movement 1hat enables 1116 daocor to add 10 1111! charaete< 80<1 story tine

Development of Musicality

In the qu~t to •mPI'OV6 rhyuun, dancers have become more conscious of tne-s1rucrure and compoait1on of tho music. For .example in t~o dance music we ose. «Very !WO bars of music conlatn a slt"Ot>g bar loiiOwe<l by a softer bar. Thls en3btesthe dancer 10 under· stand the. ·qwsUon and answer' of tho music and crca:c musical lrght and shade.

For lnis reason the ftgures arc o!ten counted fe< leaching and pra<:tltl<l in lhc ~vo bar stNo:urn by using the numori<:al CO<Jnl of 1 2 3 4 5 6 7 8. This can easily~ apPlied to Samba. Po so DOOle and Jive. 11 is not so oflett used when ooun1lng Rumba and CM Cna. oocause ol the movol!'.ent &e<O$S tile ~ar ever tJ\e ecunts ol 4 & 1, I he usual single bar oount is c.om,aily lavO<Jred. Whtehever mellloo cf coun'· tng is use<!. • IS so imponant to emphasis the Musical Accents wiUlll\e v0100 1o encourage the d011elopment of mtJslcality.

Seoondiy. dance mus<c ptaye<l tor compolitlvo dancing is written ill two. (O<Jr and eight bar phtases. Many c:wp+es phrase tholr<lano­tng to be sympalho!ic with 1111! muSical phrasing. therefore enhancing 1hoir lc:>k ol musical ability. Wl\~st lllis ls or particotar value v.'llen dancing 3 Samba and a P0$0 Doble. a Is al$0 desirable IO phrase the chcreogra,phy rn each dance: partlculasty valuable is do<>cing a 2 bar f.gure over the 2 bar phrase. It Is impoftoot 1o know the phrasing or the SP3<llsh Gypsy D811ce (Espania Coni). as this IS p!ayocl lot the majority of eompolitions. 1-Cowever as oll>e< Pa$0 DoiJios havo a dif.orent p1Lr•!5lng- a normalS bat plvase­a is Important to ~now how to adap< to this. A futlexpronalk.o wil be found in the ehap\er on Paso Doble Structure and Charactor.

•· Mullcal Accanlt play a large 1>8•1 in tho dancer's abil ty •o eronte rhythm. In tho chapters on 1ho S~uctuto al\d Ch4racw ol each dance, the-re are descriptions of lh& musical accen:s to understand 1116 emphases tho doncO< must give to the movemenl• on th&$0 beats of music. It Is by listening to music and und&slanding the accents lhol lrvo muslcal~y and rhythm develop.

Rumba Ch3 cna Clla and Jlye arewnnen In 4/4 t•me. which teh usll>;lt tMro are 4 !>e81o rn thlt b<tr. counred b. Tlmt Slg;;;,",..· nd P • Doble ''"' wrinen on 2/4 tirn<l 10 ~ lho musicians real! the noles mme cas ly. as they ar~ mo•o

~!;;,..to!::.,.,: '"""Y bill'S. The•efo<c> there aM two beals 10 !he bat. ~led I 2. There • ro Paso Dobies Plllyodln l/4., 618 ._ sq..:ure. but tll1s IS""""' acceptllllo on e .lhc< W.ooa1lisl or~- danclll!i

.,. Ttmpo «Sthe *l>eodol mUSIC on ba"S per ,.,..Jte andWth o.Jt donee music.~ sllou'id no1 vat'{. Hence 1M lesm ' Stncl Tempo• The lo!'owmg erotn. oll'e>alle,...p• ret the L.alin .AnMnclon 0Jnces •• bars per mmute· Rumba 27. ~ 50- Cha 013 Cha 30 - Paso Doble 60 - Jr..-e 44

Development of Choreography

TM idea t>eh.l!d tills book Is to give the teehnoque of ligures lhal have boon develOped and are used by ma<>y o!tho lood "9 coup:es. Tne majot deveiOP<~~<~•t hos been the inc"'asltd uso of spl1l bo~ rhythms. as~ Ms boen In Standard Balhoom dane•ng. F&Shlons In cl>oreography eMngo es they do In onyth ng else. hOwovor lhe frgurcs ChoS4ln lo< this bool< ha-.re a fundamental base and have stood tho tosr of Irma.

The use of tl>l•l beal rhythms has io<:teasod the OO>OUnl of movement over a bar of muotc. Dancers now 101~ 3 number Of bars tO· gether. "''"ll •P'~ bOots. lo gain an el!oel of speed and movement. n ... was nol ~table many yeats ago. However.~ fudlcoous se~e.c:uon o1 spfll ~ movements eoople<l With oonlrasting slower movements e:>n loolc atllacllve and creates an oxC1l1ng musical e~ea 1he ouogested eomb>flalions given a1lhc ond o1 the leehn!C<II d&scripiiOns ol each fogure ar& those. which are popular and Wllonablt the d<')nOO( 10 et~OI.e lnte~tng ChOreography HowovOt, many othe! cotnl*lations may be usee.

Wl>i:u Solo Sld~-5cle f.gures arc .00 ~'· tnes. &hou'd bo I rnMdtn 1l>e number ol musical bars used at any tmo. ll'.osl &iUim"'e<s anc ¢9" do not ''lll>:e<>ol<>eh~y wl!h an oxlenc'ed amour.t olllme devoted to 5® Side by Slc!to movements. An acuptablc i'llOUf\\ lor any •uch groop olllgutll$ wotJd bO 4 10 6 ~rs. be!ore rMm.ng to a posll100 of hold.

Development or "Trick" Figures

s , • .., the begin,hgol eompetiliv<lt.a..,Arnericandonelng, r:gur&s, which Mve no ~.se ln U>c !tst>darnental actions andlor rhythms of the dances wcro im:Micd tn 1M d>oreog•ophy. The £oguros chosen, trii8M9 on a~Obc. fJCl'Obatic or a~emabvo hno of body ~"9~ to phi~~Se on 3U<I .. .,ee. '""""'by tho name '\ltd<. fogu·O$.

F<>< oumplt: one ollhe ca11y '!sick' r~ ulled the l lo<.., ond C<lrt. u50d mainly in Rumba and cna Ct~;t Cha. The Man $10nd on one tooL •n alktx&d kMe. with _ll>e Olher toot~ 11>g deaerllllng o ~.as the Lady sx•s him afO\II'Id '" 8 ehete. Somolln~ """ rne ll)dy rumlnt,j ba<:kwarc!s •n a Ck>$e PoortiO<I a<td oth<>r nmes woh the I.Bdy t\Jnnlng torw8nds ln a Shaoow p alt Th HOfSO ""d C811"' nol I)Op\JI3r in up-to-rote choreography. . o iOn. o

Anolho< t>OPulor movtment altM1 orne caiiOO lhe Flying Angel811d d.1noo<li> thu Son>OO rio< · the l ady oft thc 11oo< In Tandem Poslllon. He usually heklll>o Lody wilh bOth hond · pe mOO by tho &d10n Of lhe Man ilfbng of I if\$ from oompelr.lvc s.tyto dancing made'"'' styto of mo110mon1 no longer pos$1~::'0<>nd hor waist. Late. hOwever, lhe banning

As lhe """""'~ Ulon ~ican styto became rnote ~ar troOVOO>enls tak 1 Movements &om Cln~ ll<>le1 became popu~o1 ~ h!Qh Att1udo and - ::' "'~OCher dance ~rrm we<e tneorpora:oo. tenO&d 10 ta1<e a number of musical ba<s 10 perlorm and thereloro ~ ll'.e dane<~ ,:-;' ~ 3nd ~·ones be "II usoo These

All•• u.s ~ itiOOtpOrat ng Jazz 118f~"""""""" ae:Y.ed dillc!rent Shape$ ono ' """'popu er fiiiAJC was Chot9>9to becom;> harder on souno ano wi:!l moro uplronc ll0$Sibi'~ cl !lo<!y -l At aboutthrt of 1110 day to eJ<peMIOntWtth other Cll3ngesln CC<>Sisuct>on oltnOYementanc rhythm"':"'· This llnClOuagod the ehorqmphcr's see tomy S.,o of"'- chango$ -enol wc:cessfvt ana ~~avo beon Joslin IOday's ~fi croa?G 1lte ~Illy or the danc.ng wo llOI'IIIllr a.s the bosrs ot conSliUCIJCn ••"" fundarnOtllat p~nc:iplcs. ~ but others havo eonMuGd 10 bO

In !I! IS P<OS<"nl ero. Ullin American dancing has boeomft of age. wi!h tho malar~ f . • • !lo<!y rhythms. Wl'olslthe lower grade of eompellti·te dancer will endeavour \o Yo 1rck ngures being those thallnvol111j dlff I Lo~y relying c:omf)lelely on the Man lor her bolonco, mony chomploos hovo do~;~ 8(robotlc and d<lfrcull SUpPort r.gures wh~r~hn the.r expeNieolhrough the use of rhythm, t>Osturo leehnlquo ond """-• mov • Oiled to a love! whoro lhoy are

1 1• 0

' _ , omonts ollhe drlferent m con en to prove uscucar groups,

Construct your chore'!f}t'(lf>h~- with a contfnuous fhyt.hmic nclion; with conttast in time 'laiuo, to ensure the exs­minat. ft.;dgo and aud•enco WJff apprec .. ate yot~r dancing.

Floorcraft

FloCrcr.lft is tile ab~ity of \he couple to maintai" the 1\eauty of musicality. movement and shape throughout their performance. I! is

8 combitlation or beu..g ab&e to chanso the direction or the roo tine of f1gunas to suit I he site of room a~W to avoid the o ther couples on the fbor, untortunat~y as our darteing has become more powerfuL and indeed with some couples. ill mnnnercd and aggressive. noort:'-aft nas de~eriorated. U Is pan of the dance teacher's responsibility to train couples 1o understan::s F:oorc:raft and the requlre.­meots expec1e<J ol them when dancing <n a crowded roorn. YOu will soc that loda{s cnamp!ons have excallt!nt Hoorctaft

Itt Samba and Paso Dob!e. his most important that ftgures de nor cross lhe centre line or the room, and the couple move 0p ro me comer before crossing to the O!her side of the room.

r u ching fip. When the Lady Is In from c! the Man in Tandem Po.">itf'Orl w ithout no:d, !tis her responsibility (O !cad the d:roction of movemtMl to dance <uound a comer and/or avoid nno1het c<>up!e. The Man wJfl rt!erefote follow tile cl/rection insrigated by Lady.

Technical Definitions 1. Foot & Body Posilions Fool Posrtion. deline<l as the end position of the moving loot ill re!&lion to !he star><ling foot. For example. 'Rf fwd' Is a movement ollhe right foot In a f¢1-H<Ud cm.ction from \he strn'ldingleft loot Another cxarr>pjc: 'LF to side' is a mov<>ment that ends 10 the s'ot)e o/ 1M right loot. Or> an open lcMard tum. the Coot will norrr.ally <rae~ fo<Ward, before tile tum cream 1M end pos~lOO. For QXamp!c. ·RF fwd 10 end Mel<'.

wt,ilst the «>ighs move on two para~el aoo separate tracks. cue to the rotation of hips and therefore a slight turn out of the feet, Walks take-n focward or backward wi!l end with the toe of the back toot on !he same hne- as !he hoe I of 1hc front toot This is nol a ctossitlg of the root !{no: if the fe-et are swi<.,re!led so they are parallel wfth no tom out. the feet will b& on two tracks. On some very strongly turned f._guros the HacK may change and this is noted. The foHowfng notes also explain other dofi•)itions given under the FOOl Pos~lon heading.

Te;~ching Tip. 'Only one leg·. Stand I~Jeing a mlttor at1d dance a forwtJrd or baciN.-ard wa!k with the necessary hip rotation and foot lum out, See IM effect of only one log being vJSiblo.

Body Position. oenned as the position be~'een \he Man and Lady. For example. ·c 1oso Hold' is the Basic normal hold of the dance. ·conlacl Hokl', the same as ClOse ho!d, with bodies touchin9. Close Position'. the same distance apart as Close Hold. bot wilh o" IY ooe hand hOtfd, Double Ho!d or wilhovt hold. 'Open Position' is the normal position. facing partnar at am>s lero.glh .

a. Forward and aeross or Backward and aeross is tha moven-ent approximately 5--10 em across the line of tne standing foot andwiil be found on some turning movements and when uslng a forward step In Promenade Position. This Must stilt be taken as primarily a forward or back,v.·~rd step and no1 taken sjdeways actoss the standing toot; as the thighs should oot cross. causing a distortion or (&striction of the liip Iitle.

b. Promenade Poeition is a movement danced in Ck)se or Contact HOld. with the bOdies at an angle to each other so Man's rlghl 114> is IO'Nards ~centre line or Lady's body. Tllis enables botll to move itl lhe same forward direction. for oxample aloog LOO,

Ttaehtng Tip. As Man. tvm upper l>o<Jy to right inlo Promenlldo Posilion.

e. Open Promen.ade Posttlon is similar to Promona<fe ?osi.fion but~ danced w'rth only one hand in hold.

d. Counter Promenade Position Is 3 movement dao~d In C!ose Hold. with ttw bodies at en angle to each olh"r so Men's C<l"tro line of body is towards Lady's right hip. This er>ables both to mo~ in the same forward direction, for example against LOD. Therefcro, tile oouplo have assumed each othor's body pos~ion of a Promenade Posai~.

•· 0 Ptn Counter Prom•n.ade Po•ltlon is similar to counter Promenade Position bUt Is danced with onty one hand tn hokl.

17

18

. <! Posit' on however the movement for both wtll be in tho same f. Fonowoy Poolllon ;. the same body pooso-100 as Promono a ' ,

bac!<Waro dlroetlon. roo example down~ •

Po " ll'inlr o1 pi""""' 11>0 side of tt>o rig/11 hsp toW31dS conrro lino of LIJ<Iy's body r .. chlng llp. ll> c,.eto FiJI/Jiway $Aion as'"""· ·-...

~-- ~--- de Poslion however the movement lor both,., 11• Counlsr F•ll•woy Position. Is the same body poSibOn a> ....,..,ter r'""""'" ·

be In tne ..,. bad<Watd d•ection. tor example down LOO

RJ hi Sldo Position. Is a movement danced Wllh Lady C()tnp181ely on Man-. rog~t s.de Ttns may be danced With 1""

1 MOY•ng on

h. D n..t- •• both _.ng n lhe same c<ectoon ltos also usedlo re!er oo me couples shape when on the QllllOiko d<edoon to....---·· w •• , .. ~. the Same Foot on Solo Pes lion. See furlfter desaiption beloW

Loft Sldo Position. Is • movement danced wilh Lady oomplolely on Mnn's left side This may be da~ced with reet movtn~J in i. 1, 0 oppo&•lo dlleet1orl lo partner. or v.i:h both moving in. the same d"e<:tion. Il ls also used to refer rc .he couples shMpe when

on 111& Same Fool in Solo PoSition. SGe lurlltet descnploon below.

J. Outside Partner. Is.~ posit on whore the right root moves forwards to 1M outside of the partner's right tool When lf1 Close or Open Pollnlon, this wiU noomally be: RF forward and slighlly across LF, outside partner.

Te.chlng Tip. Thk11< outside bUt shoulde<s in lhe r usual parallel posit.on

1c. Outaldt Pat1ner on Loft Sldo ;. the same positocn as abOve b~l with left foot taken to the ou!Stde o1 partner's tort toot

1. Samo Foot It wllore both Man and Lady stand on the same fW- and not 1he usual opposite fool. It is posslble to <lance on the Same Foot in Close Pos<llon. Opcfl PosJoon. Shadow Position. Tandem Posi:oon. R or L Side Position or Solo PosotiOfl

m. SMdow Pooillon is with the Man lleing slightly behind. w~ Lady slljhtly on hos right side. bo:h l'aonglhe sa<ne d11ectoon, on the normal ~te loot e< on lhc Same Fool. Th s may be danced with Loft to-l ett Hand Hold and rigt>t hand on L&dy's oghl Shou'Cor bloc!•. nght h'P. around lady's wa>st or ooly one htnd held e< Solo.

n. Tandenl Posltlon is whe<e the paMers are in fine w;lh each OU>er. facWig In the same<! roct!On. on the normal opposite foot or on lhc Sarno Foot Too Lad)' is usua~y in (rent end the fogure danced w.lh one hand hold. So!o e< with 1hC Man supPOrting the Lady's weight with one or both hands.

o. Contra Pooltlon Is where lhe partners mp fwrJ on the sumo 1oo1 10 oittler left or right skle o1 each olher.

p. SOlo Position I~ ,describe<~ when no hold is usM. either on thit norln31 oppoMe foot or on che Same Foot. This rnay be danced "'an Open PostllOn. Sh<ldow Posdocn. Tandem Posllion or Right or Len Sloe Posillon

Teaching Tip. f?unrrg sny Solo PoMion mo..,mont, oonroct must ~e molntained wHh partner. visually through eye conrocr $h8 • mQ Of body IOWilf(t$ pMf16r and/or by botly /unguB~. ' p

q. Knee flexion ,. accepted as being J>atl ol any io'N&ring ec:bOn. however 11'1 ftg~ttes wh&re the kne& • n fld oary "-· ~Is noted lr.e degree oi ~exion <!epvnds on ll'o dance.s phys~que and the figure ~g :OnC: create the neces·

r. Tot turned In used on slrong-tums.such as a Ptvot.

s. Tot tumlld out uSed on a step ll.lmed 01.1 from lis ~rae~<. more lfl8n on • normal waRe 1 Forwaro Walk. or examp~o When dancing a Checl<ed

I. Ro,.,., Is • ciroolar movemen1 ot a fool and leg, commenced from a rotation or the hi of the leg creating the Ronde may commence in a rooward poslt10n lor OI(AIJ!Iple LF ~·over lhc stanc'"9 fool The Foot Position ollhe LF lo!Ward and lh<ln an outwa<d somklrcular action 1o end In • posit~ of L~rwa':i without weight - to dooce a ra!ease ~sualfy the somi.Qreular acl<ln backwards will continue as the body commenC4Js ils we t~t side and slightly bac~ wilhoul weight. OO<rtlnuoua tctlon or tho Ronde. rrom thit commence mont of hip rotal ion to 1110 0<1d ot

11g change, so thoro will be 8 smooth and he watghl ehar~ge onto the LF.

---

u. Shunt. IS a suong movemenl forward or backward: usually on both feel with feet together. Tho teet wl:ll sli<lo aaoss the floor. with both feet Oat. When dancing a Forward Shuoc the movement originates from ~ sharp con!Jaction of the muscles in tho peiV"ic area. caus1ng the kn~s to flex. This position \'V11l be he'd vnlll the commoncomcnt o f the nex' movement When dane.. ing a Sackwacd Shunt, the movement originates from a sharp pu!J back o f the muscles in the pelvic area. eavsing tho knce<s to straighten and a: forward postuce of the upper body. This position will be held un til the commencement of the next movement.

2. Alignment Ill the Standard Ba!lroom oances. defined as Lhe direction the foot is fecrng. backing or pointing in relation to the room. Tflis is not actuaHy rrue in the Latin Amer1can dances. due 10 the natural turn c ut of the feet on m ;:tny ,:;laps. ThP.refnra. 1he ahgnm&nl is of !he centre line or lhe body and lhe track of the fom descnbed as a Oifection ot Moveroont. where these are differenl. The Atignment o f feet added. in figures such as a lunge. tn wtl!Ch th~re is a strong turnou t.

L1ne of Oal"lce {1..00 ) IS an imaginaf'tllne. para !I&! to wall, thought of as undor ttlo standjng toot. The general movement of Samba and Paso Doble follows the LOO. See desCJiption of Floo<crafi. Alignment gtven in the other dances tS lor two reas011s: th& first •s for ease ot teaching. as lhese dances are basically <:iJcutaf in constwction and danced on any chosen alignment. secondty in today's daocmg mosl adVanced couples lil<e to ~front• their work to ,uesftnt the best possible shaoe to the audience a•l d thereforA the judge. The cho::;en aUgrunents in this book 1ake beth of lhese reasons into account. Direction o f movement sometimes required as •,'/ell as an A!ignment. For example, in Promenade Position when the body may be Facl •~g OW. but lhe body weight 1s moving along LOO. This also occt~rs in Falfaway P~ilicn. Occasionally used on olher figures to hetp the understanding of where the foot t~clualty 1Jave!s.

3. Body Turn In the Standard Ballroom dtlflC.CS, the Amoum of Turn defined as uu~ turn made between the feet However. as defio&d io A_Iignment above. the Amount of tum ts from the cen!rel1ne o f tho body. wil}l reference to the change ot track of tho toot when necessary. On turns. I he turn is generally as late as possible on the last pal't or the OOat o1 music. allhough there are some exce-ptions. To assist with describing lhe aclual step, the direction of turn and the follo\•Aog definili0l1S are In the Foot & Body Posttion column of each figure. The actua!Amountof tum m the Bcdy l urn & A.l~nmcnlcclumn.

a. Pivot. A turn made on ball crone fool with foOl Oat. Up to 1/2 turn may be used.

b. Spin Action. A continuation c f turn from RF forward, when partner is stepp;ng back into a Pivot turning to tight, by allowing the fo!lowmg Jeft foot to move forward lo end b-ackwards 3Md sli-gh!.fy to s•cte. Con1•nue 3 ro!Qlion to righ t, over a tlumber of mus\cal beats. by using a Pivot and a Spin Action repeatedly.

e. Swivel. A turn rna de on ball of foot, notma!Jy wi1h root 1lat. At the end of the tum the o ther foot shaped. to point backwards. closed without weight. pointed fotw3ld$ or raised from the f!oor. Swivels d~nced in many ditrerent posftions add great effect. pMicularty to lhe Lady's foot and leg shaping.

d. Hool ClOse. The turn commences with a strong toe turned in a()(! Is complete<l with the bo<l'f weight on the heel of foot with foot nat whilst the other heel closes. w'~h a slight tum out. BH with full woight change. Up to 112 turn is possible.

Teaching Tip. On all tumin(iections. pay par!lw!ar ar.eMIM to rile loot styling. the foot tum ovt. tile ·only one leg appaarance'. the latefless aad t_herolore :Speed of tum and lh9 musical characfor nocosSIJry ro portray tho donco in its truo form.

4. Rise on<! Fall RJse and Fail is defined as the elevaUon and lov~ering action produced through feet and legs. Individual figores may have their own cnaracteristic Rise and Fait and the dancers musicaJity may be enhanced by a dovc loped use o f those actions.

In toda~ls choreography, certain tigw es ose a suong foot rise. Thls can b9 'Very at1ractive in movements such as Sk>w SpitaJs. Heslta110Jl s and StJpport Lines a ~Xi of coors&, some of tho fundamental figures in the Paso Oobta.

As Rtse and FaiJ Is fKJ1 used repeatedly. it 1s given m the No!e.s associated with the figure and not as a separato hoading.

Toa<:hlng Tip. II Is most lmPOrt~nl to urlde!$1endir)g trn> 6mlr.g ol/llo /ow81ing from o risitlg IJ<;tion; ~>e 6xp/atr/llioo is in the nolos of <tech figlll8 concerrl8d. Practiso eech ir.di;;'du81 RiS<J and Fa.~ :o d8nct; with tile roquire<l m~m anc1 ch<Jf8<:ter of the f>gvro.

19

20

S. Footwork . '""' 0 ol tne moin part of the fool is given: hew.wer. the advanced dancer must be Defined as tt\e use of the toot. for SJm...,.'V'ty. t e use . . . · t powerlul rhy1hmie aclion awatc .. 1s the efficient ar.d complete 056 ol the Coot. when u·anslemng we19ht. wh1ch ctea es a .

The use of feot on a oormat walking action described io full in the chapter on the Structure and Chatacter or ea<:h d:mce.

When making a tum on tho toot and no! between the teet. footwor1< given as 'ball wi1h foot llar .

Toxhlng Tip. II is extremely important to use tho loot ccmplelely thtOugh ils full le<>gtl>. "Move on, lhro<Jgh a!Jd o<ll of the tool.·

lnsid& or Outs1de Edge. Wh\lslthe. ptacing of evef)' step ccmmc-nu:s wlth _either an ~nside or outside. e-~e or f~ot hOwever, i t is not{.-d when a stronger use is: necessary. This wiJ occur on Foot Posittons w1th the foollurned cut or In, aL~o on Lmc figures wheu' the shaping of the extend(td leg and 100( uses this stylish techniQue.

Teach1og Tip. The conlrol of k>weting, from roo to hool on/Jackward steps. fs sc imi)Orlant in ma .. ntefr.ing thethyfhm tfti(J balance of th() whole movement.

6. Sway d · . sway. ss ~fined as the inclination ollhi> bodyline. from l.he fog. !hrough lhe bOdy. lo the top of tho head. Nol use •n liM> Laton American dances as it is in !he Standard l.lallrocm dances. because there is 110 Swing of movement requiring the COr\lrOl ol Sway. However, Sody lncl,notkm may apply in a number of advanced f.gures. It is (uodamel''lta1 to the shapes or ftgures In tha Paso Doble. given. when necessary. In the Foot & BOdy Posfticn column in thts dan:;e.

7. Head W•lght \'/hils! all movement of tho human body commences wi1n the head movlng, lh<l Head Weight change. from one side 10 lhe olher in the Standard Sanroom daoce.s. is oot necessary in L3hn A~ric..'\n danclf~. Reference is In the notes tor a parhcular figure where thocc lS a turn of the head away ffonl its no;mal cen1re line. or is ad<:'itional to the use of SWay. Some1jmes there is the r.eed to use the head to create the st()()• l!ne in a particular figure: in whlch C3S.C the shape of head!?nc, the ang!e cre-ated in the neck and the use ot U1e eye fine cao produce lhe effect required.

8. Lead EJ<planation of Lead is in IWO di1fC<011t forms: N!Stly. it comlll()tte<>s 1M Oescrip!ion in tho first column of lh<t Man's Chatt of Ci!Oh figuto. gtv1ng the dtrcci,on of movement and hJm. 'Hhoro a.ppticablo. rcqulred of the lady's s1ep: secondly, in the foftowing Notes lho mechanical art of leading is ~scribed fully. It Is a very complex subject and~ •s necessary to spend tin~ in on<Jerstandmg the ability to Lead and Fo!!ow through the knowle:dg& or tho following acHons and reactions.

l.C3<1 can be bn>kcn d<>wn in'.o fOOl' majo< groups; those am Body wolghta<1<1 Snape Lead - Simp() le3d- Physical Leaa _VISUal Loo<t

a. Body Weight and Shape Le>d. It is so important for the Man to understand Ill<> action thOugh his b0<1y weigh! and thO bodv sllape he produces to ind!CBle lo lha Lady llls f¢Qt.nreme-nts. From the moment or taking hold. It is th& 'sottine' ot his bod · ht that will ' ta!k' to thU Lady. felaxir.g her and a!lc-.'ling her to sotce h&r <W/0 body we~ht. 1 ::~ Y wefg,

The Lady musl listen' to his body and <eacl in her body to prOduce !he necessary 1ogelhorness'. t.eadi nd 1 11

, · ., ne~ef be depen-dant on strength of har.d aoo arm puhing and push1og. ng a 0 O:Hrrtg sho-..ld

Teaching Tip. A V8JY gce<:J qvote that js uwful for al! coup!os from tho beginning of tra!nfTW'I lo the m . 'The Man suggosts tho rnovcment - the Ledy da.ncos tho movomen* _ tJ>& M~~l"'H h.ost Odvanood lovol 1s:

· · ~ows I & Llldy'.

Another good reminder: ' lead /sliM! art of GENTl.E persuasion',

b. Sh•P• t•ad. A gOOd example Is to show tho load of an Alemana aoolhen !ho lead a Hoek<> s _. . ll'>e )of ned hands and arms thai proou~s the lead lor lho Lady to follow. There ore so many l llcl<. "Is Ct&ahr.g o Shapo with dances requiring a Shape Le3d and i1 is importanlthatal r)O time is tho Lady pushed orp 1'-'9d uhres In all of lh" L.alin American

u ~ l rough the shape,

Teaching TJp. Croato tho necos~ry shape so tho Lady has- no choice ln the directlon of thB fof • . . guessworl<. 81/owmg thtJ Lady to bo ro!8x6d so sha can meet to tho Man 80..,~ 1~>7cwmg_mo~t&m&nt. Tako 8WtJy tho

v •• o musrc.

c. Physical Load. TI\<S is reQuired. for exampte, at tho and of s!cp 3 of an Open Hip Twlst or at !he end o! slap 5 of an A""'rican Spin and is the amcun! of PfOSSuro exerted through !he joined hands to indica!e the (oltowi<lg 1um for tile Lady. AI all ~mes it is the weight of the body that exerts tile pressure , Hansmitted throagh the tone or tho joined hands and arttts.

0noe agam. tnc amount of force and energy shovJd be to the minimum reqyired. suggcsllog lhe Change of direction for lhe Lady an<' not (cying1o mak.e tl ef daf\Ce the change of hef direction. Tnere must a~ways be a tightness of held and connection to tht- Lady. a~lowitlg hct to temain relaxed. balanced and aware or the Man's body action.

lhe same requirement is esse-ntia1 for qoick foot and teg speed. It is the St:ggcs1ion thrOfJgh the Man's aelion that wiU provide the ba!ance and reaction from the Lady to produce her own speed of feet ana legs.

Teaching TJp. Suggost this: 'You can tal<etnelacly onto the dar.ce floor bvl you cannot MAKC nor d.anco'.

Teachi"9 Tip. If stress tfwolops, in th& te811. ror M3o or /he Lady, move 1/>IJ fingers of /he joined I>Bnds, as if plsytng o piano. to r&jaK tho connection.

d. Visual Load. Aooll>er imporlan\ way or connecling to e30h Olhor io dance is through !he eyes. When oanci.ng witl>ot.1 oon!acl ~is essen!iai !O b<l aware or eacl> other. This aMows U>e Lady to react to the Man. Da~ng a Change to am~ from a visual connection ere· ates the poss!bil~. not only in the Lady reac!ir-9 to the Man bot alsc in t!>e deveJco,>ment o! the Character and story line of the oonoo.

Teaching Tip. Practice Welks In eacn dance in R or L side Posizion, changing headline ar>CI eye /;n& f<om lOOking dilecl/y forward to kx>king towQrds each other. either ;ndivlduafly or at the same uioo. This may be dancad comp.'etely BfCtJtid th9 room, changing as fr!quircd, boing aware oloacr. Olher ~nd also adding different"'"' shapes to show ti>IJ MDn is protecrlng and concemed for his Lerdy, and lor th6 Lady to invite the Man :o do this. Quire offtJn the Ledy wit! not Jock. d~ecrly acthe M811 but lo<>k loworcfs him, maybe W1lh a 'nirtarious· attiwde, with tt;o eye line lowered. TtJc ChfJt8CteristJc connection is importof)t,

e. Double Hold. May be with L !o Rand R to L hands joine<i or R to R ond L 10 l hands joined. Whon ended in Close or Contact Right Side Posi!ion, wi!h joined L hands in front oi bcdies al waist height and Man·s R arm around Lady's l>llcl<. with joined haMs near front of Lady's R hip .. it has the name 'Cu<ldte Hold'.

To lead the Lady well ls very sat~sfying for botn Man and Lady as balance is maintained and therefore strong rhythmi-c: characteristic actions and movement may be developed. However, the lady mus~ also~ prepared lO raspend 10 the Man to provid'& the 'feed· bact:' that is so important to a true p.artr1ership.

Musical Notation

rome Signature explalns !o the musician how many b<lats !here are in one bar or musi<: and what musical n01e represents or-e beat A time signature of 2/4 1s written for Samba and Paso Doble, and 414 for Rumt>a. Cha Cha Cha and Jive.

Rhythm, For the musician. rhy1hm is defined as the regular recvrr&ne-& ot accents in each musical bar. The dancers will use the accents to promo!e their musical feeling aOO exp(ession. The body can create rhylhm in many ways. but ge-nerally. it is folt most strongly In the rotation of the lar90 group or rnusoos making up !he !highs and lower body. Rhy1hm may also b<l deflll.C 10< !he dancer as their choioe or when and how to move.

There are also different ways o1 expressing music.

Staceato. To make eac>1 movemant sharply distincl.

Legato. To make a movement in a smooth flowing mannet.

Rubato. To make a movement that tempOrarily ignores the s!ricttcmpo rhy!hm that is usually expectod. A dancer wishing 1o use 111is type of my!hm would need to <liscuss lllis io detail w'~h a leachor.

Ttachtng np. With p•rfoct poslut& end bafsnca, you movo when end how you went to mov&, will> poot posturo IJnd bahlm:<l you mov& when y<w have 10 move.

21

22

• . . · · of oacll figuro. The firotligure(s) indicat&s the beat(s) o< part of a beat in tho musical bar (moasuro). Rhythm g<ven rn !fie d<>sen~ bold d rt' ed numbe• is the first ooat of the nex1 bar of musrc t>e<ng danced. whlch rnUtcates the b&ing used on &ach step: t ~~ ~~n -~ ~•ro ond ~s an aid to Phrasing. Tho fig\lre ;, brackets gives \he ooat value: that is the numbor of mu$1C01 batS requavv ,...,. &"'-1' ·~ ...

leng1/l o1 the beat(s) or port of a beat being danced.

8611 valuo u follows:

A 0\Jmoor t ot 2 01 3 a< 4 etc. signifying a ooat value of one beat.

& . sjgnifying a beat value of 112 beat. Thereforo. t& is 112 ooat. 1i2 neat. 12 & is 1.112 ooats. 112 beat.

a • signifying a beat value cf 1/4 ooat Thereloro t a is 314 beat. 1/4 beat.

PSea.se soc the Cha.pter ~or each individual dance for a turtrn:r~ description: of that particular rhythm.

The Way to Use the Charts

lleeDuso of tho t;;rck of oonnat opposit& technique for Man and lady in the Advonce<l Figuros or La~n American dancing and tho ll<!(<)SSi1y ol lnciYding lead in the charts of tho figures. each step has a description of the techniQue as il reading a complete para· graph. Therefore, it means that you rea<J tM t\tehni®e of each i ndividual step across the page.

1 IMdfng t...edy ..... & ._to tum to L

LF fwd In ~ P.oolllon, Checked Fwd WaUt lo·ond in Tendem~ocition

No tum, tadng ow egaine!LOO

BH&pressure on B, Rf

2(1)

This 's dmtlrent to 'A Technique or Advanced S~andard 8a!lroom Ffgures', as in those dances i! ss easter to assimijatc the technique by Slody\ng the !n<J;vidoaJ parts and therefore il ls written wkh o ne subject - for exampto, Foot Pos~ion - baong taken actoss the page in ons rcw.

If a stop, or steps. has ~n nctual name you w~l fir«l this given In the Foot & Body Position OOlumn. Apart from the exnmplc •n the Chart given obove. Ohec~<ed fwd Walk, alltuming steps known by nome. for example Pivot, Spin. Swivel. etc .. are atso inclYded rn the Foot & Body Position coiumo.

WMn using BOdy Turn. ~ is also OOC<!SSary to Nlfer to this altho beginning of the Fool & Body Position coklrnn. This enables tho danoer to undofsmnd ~ala change of body positktn is neoossary b<l!ore the plac'111g of the foot on the !loOt. The actual amount of Body Turn and AJ)gnment: referred to fn lho follO"...,ing column.

In the F~tw¢11< eoklmn. Oc¢aSicoal ref~renoe to the uso of hoel, abbtoviated to (H) and not to tho no<mal H. Th)s indicates a late tow<>~ng of tho heel to the floor, so that ft <!oos not OOtmalty C<l<ry weoghl bofcro the following weight change.

Rhythm Is written by indicating the 1$1 beat in the musical bar. oolng i n bokl type and underlined. The remainlng beats and parts of tho boat, wlletller a number, & or a. in normal type. The number of beats. 01 the part of the beat. taken for tile Step, or somelimos Steps, In brack&L• _ (1).

lll'hilot !ha abova am CO<Isldered very important In understanding the musical OOO$IfUction cl ~ny fig\lre today' . . count in beats: for examp;o 12345678 with tile ne<:os•31Y & and a indud&d. This Is Ptlllicularly useful in Samba.~;'!";'~1,::=.10

The Future

i'S IMve said earlie<. latin American dancing has rome or oge. Tod:ly's cllampioos arc truly showing fundamental movement an<J CJCcelenc<l of m~. typifying the musica.l character of each d<W.e. In the future theto may be alas~loo that ~. last !0< a st\ort ~ t-~r. thefe is no dou~ in my m:nd that the e)(ceattnt won: that has been create-d by lllc dancers a."'ld the teach81'S'" Utis 18$1 decad<> WCI stand the IOSI of time.

ThOs iS 8 wooder!uloge to be a latin American dancer and I WOUf<lllli<e this opportunely to wish ;)II aspinng dancers great success in lhls oe<t decade. HoWever also took at the history of our dancing .. because without history we do not have a fuhse.

The si\Jdy of t-echnk:ll..e can be most rewatdlng. I\Ot onty havin9 ~ho command that l<.nOwt.edge g1ves btlt a\so in the satisfactJon ot Wing the efficacy ol a parfect weight change. Please allow mo 10 quote onco again my understanding of what tecllnique Is. In p>Oduciog musicaldy a.no quality of movement.

•recbniqoo 1s tr.o sk~l in usir>giX>Ih 111<1 mechanics of tho /)0/jy ond file phys;oM laws of morton. to creare a f)IJr$0nallaeling of l>al· ance 8nd rltyt.om, pro'Jucmg muSJClllily. Oltistry and quality of movcr.JCnt"

Gcoflrey Heom Abbreviations Used in this Boc»t

B 83J ollo<>l LOD Line o' Dance

Bwd Backwarc pp Prornen<lde Pos~IOII

Btw Setween Po a Posrtion

CFP Counter Fa11away Posilion p,.. Preood ng

CPP Covnter PI'Omef~bd~ Po~!! le n o/o Ovto!cie Edge

Com Commence(s) OP 0\Jtsi<!e Panner

Cont Contirole(s) Q Q<Jick

Dlag o.agonally R Right

DC Diagonally to cen<re Rt<! Requi1ed

DW Dlagonolly lo wall RF Right fool

FP Fallaway Pos~ion s Stow or SHaight

Fig Figure St Slighi0Y)

foil FollOWing T Toe

FWd Forwatd TP Tandem Position

H Heel w Whole

llo lntkle Edge WF l'.'hole root

L l eft wlw W~hcut w<~ig!ll

LF Lon foot

'-3