Closed position and SLOT: St. Louis Imperial Swing is a "mirror pattern" style of dance. The dancer and his partner begin their fundamental step footwork together in the closed position, standing at about a 45 degree angle to each other in a mirror opposite position. In this "V" position, shape both the angle of her body and the arc of their arms before them the letter "V" The dancer holds his partner's right hand in the "hollow" finger of his left handno thumb pressure, his right hand on her upper back center, and his right arm is angled downward to rest with the left arm of his partner on it. The dancer leans to the right hand of her partner and positions of the palm of his left hand lightly on the tip of his right shoulder draped forward with your fingers. This body connection is the "framework", chaired by the dancer's partner.
Both dancersshould stand upright with their membranes increases, center, her weight on the balls of their feet not on your heels or clothing;, leaned forward and make eye contact with her partner, while they dance (see my article entitled: "Dancing Centered"). The dancer leads his partner in a square dance floor, which is called a slot. It is modeled on this "line of dance" to two of the four walls of the room by the position of its closed position position on the dance floor. The slot is oftenas a railroad track and its pages are referred to as "rails". The width of the shoulders of the male dancer is like the width of the slot and the distance to his partner before him, when both arms are extended, is nearing its length. The dancer has the unquestionable right-of-way on this route, and it is said in jest, that "if they get the Gravel then her partner of Steel, or they are not covered properly, and he gets hit."
Basic Step (TRIPLE STEP footwork): If the dancers use their basic footwork, triple step footwork rhythms it, that is, they take three steps to two beats of the music. This footwork count is: 1 a.m.-2 p.m. (first triple step), 3 a.m. to 4 p.m. (the second step, triple), 5 to 6 (rockstep). The dancers do not take three smooth (bouncy) steps on the 1 p.m. to 2 a.m. always count on to keep their feet in the "hunting position" (that is, with their lead foot or outside of foot) before their other foot. The dancer holds his> Left foot before his right foot and his partner holding his right foot before his left foot.
The first step is that both dancers take on the "1" count establishes the distance between the feet holding that the weight of ever more centered on both of her feet at the same time and confusing their balance .* 1 The second step in "and include 1 ", is a fast-track" slide "step, which follows by her third step forward on the" 2 "count. On 3 and 4 Graf, both dancerstake back three smooth steps, and again, they keep their lead foot in front of their other foot in the "hunt positioning." On the 5-6 count rockstep, both dancers step back to the "ball" of their lead foot to keep your heels touch the ground, and then they rock forward to her other foot. Note that these moves rockstep (or breakstep) is the only time that either lead dancers feet behind his or her non-lead foot! * 2
* Note 1: The right foot separation allows dancers to moveher weight on one foot and avoid "double reinforcement!" This shift in emphasis, they run on evidence such as their next step.
* Note 2: As the dancer leads his partner in their rockstep with a "push-pull" motion of his left arm as he rocks back and forth, these rockstep is rockstep known as resistance. "The conditions and rockstep breakstep not always interchangeable. Rockstep A is just one of more than ten different breakstep footwork options.
1. and 2 COUNTOn the "1" include the three-step, the dancer steps forward with his left foot so the heel of the shoe is never more than a few inches from the toe of his right shoe .* On the Page "and count" ( the so-called "and 1"), he slides his right foot just behind us to count on the instep of his left foot and on the "2", he steps forward with the left foot. The dancers should stand up straight, keep the knees slightly bent and your weightcentered over the balls of his left foot. The 1 a.m.-2 p.m. are usually in the dancers' either travel "and lead their turns in the open position.
The 3 a.m. to 4 p.m. COUNT: On the "3" count of the second triple step, the dancer steps back with his right foot more than a few inches behind the heel of your left shoe .* 3 On the page "and" count (called " and 3 "), he slides back his left foot, so that its tension is near the toe of his right shoe and on theCount "4", he re-enters with the right foot behind the heel of the left shoe. The dancers should stand up straight, keep your knees slightly bent, keeping his weight and centered over the balls of his right foot. The 3 a.m. to 4 p.m. the crowd is usually where a dancer either return to the slot (for "travel" or turning on the count 1 a.m.-2 p.m.) or experienced dancer, which in general to stylize their trains.
* Note 3: Small steps are not only stylish, but also necessary, because the fasterBeat of swing music does not take enough time for the dancers to big steps. The dancer mirror their partner's footwork and she always steps forward with its opposite (right) foot.
THE COUNT ROCKSTEP expect 5 to 6: The "5" to the dancers steps the same) again with the left foot (behind the heel of your right foot and he enters (or rocks) on the toes of his left foot at the moment. At the same time it sets the resistance of the right arm of his partner to open "them to "Turn it around one quarter turn clockwise, it does not cause this" resistance rockstep "by way expected of him! on the" 6 ", he shifted his weight forward, and he rocks on the right foot, as he moves around her back to him.
It depends on WHAT IS "IS! Or so it goes in "Clintonesque" of national politics, but in the local world of St. Louis Imperial Swing, a ballerina footwork rhythm depends on what "and"! Just because new dancers can step through thebasic footwork counts of 1 and 2, 3 a.m. to 4 p.m., 5 to 6, does not mean that they actually can dance these eight steps to six beats of the music! In order to swing dance, they must learn what "and" that is, if they shift their weight. They must learn that each of the eight steps, which relates to take when they lead their six-count footwork a weight change, and the "and" is very specific that between the first two triple step counts 1 and 2, 3 a.m. to 4 p.m., where she for a momentShift their weight to their other foot. In other words, "and" is a connector or syncope between beats, which takes on the "and 1" and "and 3" portrays that take place when these "transitional" changes in weight. The only way that dancers can take eight steps in six beats of the music that is spiritually for them to verbalize their footwork and runs as follows: "1 and" (1. Beat), "2" (2. Beat), "3 and "(3. Beat)," 4 "(4. Beat)," 5 "(5. Beat)," 6 "(6. Beat).
WEIGHTWEIGHT CHANGES VERSUS VALUES: Although dancers take 8 steps (make 8 weight changes) in triple step swing, they have only three weight classes of values during the execution of their footwork. To include the 1 p.m. to 2 a.m., makes the dancers 3 weight changes (left-right-left), but he has only one weight is given (or bias), which is on his left foot. To include the 3 a.m. to 4 p.m., he further three weight changes (right-left-right), but has once again makes it just a weight value on his right foot. To dancelilt with more and balance are the dancers to be "center" to keep on his feet with the weight bias. Finally, the 5 count to 6, though 2 weight changes will be incorporated (left-right), he has only a weight is stated, as is its two-step rockstep (or breakstep) only counts as one.
1. and 2 GRAF: If the dancer steps forward with his left foot, right foot and then your left foot again, he makes three changes weight classes, but he has only one value of weight (orbias) to the left foot. On the page "and 1", ie "and" this first six-count step, the dancers of the "transition-weight 'moment on the right foot, so he is able us (again with the left foot step, but its weight value remains on his left foot, and he should adjust his attitude and weight bias) with the left foot favor!
The 3 a.m. to 4 p.m. COUNT: When dancers step back with his right foot, left foot and then hisright foot again, he makes three changes weight classes, but he has only one value of weight (or bias) on his right foot. On the page "and 3", ie "and" three times the amount of this second step, the dancers of the "transition-weight" is currently on his left foot, so he is capable of going backwards with your right foot step but its weight value remains on his right foot and he should adjust his attitude and weight (or bias) with the right foot to favor.
THE 5-6 COUNT ROCKSTEP: If theDancer steps backward with his left foot and then rocks forward onto his right foot, his weight is "left-right" because he shifted his weight from his left foot to right foot. There are only three weight classes in three levels step footwork, because the breakstep, the two changes in quick weight loss has (left to right foot by foot) will be considered as a single weight value (LR). The faster the music, the tempo, the faster these changes in weight.
Now thatYou have to read this detailed article, see the insightful words of Jan Altman (director of Dance St. Louis Imperial Swing Club): "You can choose to dance, how easy or as challenging as you want, but the easier the They make it, the harder it is for you to be very good. "
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