I danced Salsa at a couple of new studios fairly recently. No particular reason - I just had a free spot in my schedule, wanted to learn some Salsa, and my "home" studio didn't have anything scheduled, so I went looking for group classes elsewhere I could just walk into.
The Downtown Studio I tried was a lot of fun. Did a 1 hour beginner's class followed immediately by a 1 hour intermediate class. Started with basic, underarm turn, cross body lead, so the same progression I was used to. The class was about 8 men and 7 women (or thereabouts).
The intermediate class got into cross body lead variations, including leading from a handshake hold, and a cross body lead variation where the lady does a full spin rather than the normal half spin, ending up stopped (briefly) in a shadow position (I don't remember the terminology for this, I want to say it was a stopped cross body lead, but I'm not confident of that). I've since tried that move, and don't have it even remotely down. I think I'm not clear on how to differentiate the lead. The last few minutes of the class were the teachers demonstrating all the variations possible with just the underarm turn and the cross body lead. Fun time at the downtown studio, and they were cheap and friendly, and the male teacher was pretty funny. He made a comment about his frustrated stand-up comedy career that I came to suspect was more serious than it sounded at first. But it was fine, he was funny enough that you didn't mind it at all. Maybe not Seinfeld funny, but, then he's probably a better dancer than Jerry, anyway.
The Northside studio was also cheap and fun, but does half hour lessons. The teacher managed to put a lot into the lesson, and it didn't feel rushed. One advantage here was it was me and one woman (just by chance), so it was basically a mini-private lesson - I love it when that happens, though the teachers/studio probably doesn't. I suppose it's better for them than nobody.
The woman at Northside was a club dancer of some considerable experience, but little or no "official" instruction, and wanted to learn a move where "He combs my hair". I had no idea what that meant, but the instructor knew immediately. He asked me what I knew, and I said basic, mambo basic, underarm turn, cross body lead, open break, ... whereupon he stopped me and said "that's enough".
The sequence he taught us was 1 basic, alternating turns, then the "hair comb" lead into a cross body lead. I'm probably getting the terminology wrong. Anyway it went well, though I hate turning - avoiding turning is the best part of being a boy, in my opinion. I mentioned that and the teacher very diplomatically reminded me that in Latin cultures, men are more expressive and showy. I knew that, and it's not an insecurity or "real man" type of deal, I just get dizzy and fall over. Yes, even on a little salsa step turn. I'm sure I'll get over it, but...
Anyway, we worked on the sequence and got it down. The fact that the lady was a club dancer was pretty obvious to me as we were dancing - her frame was way looser than I'm used to - that's not really criticism, by the way (well, a little...), it was just a very insecure and unpredictable feeling compared to what I'm used to. I don't know of any way to deal with that except to try to get used to it and adapt to it, (which is my responsibility as the leader), or to try to figure out a polite and helpful way to ask for a firmer frame. I suspect this is an consequence of the fact that I'm a noob and the really solid mutual frame is my training wheels. Not that mine is all that wonderful, Mini-Teach is constantly reminding me not to drop my right arm, and rightly so.
I also felt like she was maybe rushing the walkthrough on the cross body lead a bit. The teacher had pointed out that she could step fully forward, not stopping her back foot parallel to her front, and she had a hard time getting that into her body (I feel for you, sister, when I need to alter my semi-automatic body habits, it's a hell of a challenge for me, too). Anyway, I didn't feel like my lead was as in control of the timing as I'd have liked as a consequence. I've been trained that the sidestep back and away by the man (on 3) is the lead (and only the lead), and that the lady walks through on 5-6-7. She was powering through on 3 or 4, and I didn't feel like I was out of her way enough, as I hadn't back rocked yet. I'm not sure if she was following my lead or just doing the sequence on her own. I'd like to lead that better. And of course, I need 500 or 1000 repetitions. On the other hand, I think I could work this sequence out with a new partner in a couple three dances at most. The instructor was very helpful and explicit and clear when I asked how to differentiate the "hair comb" lead from underarm turns and other figures.
Anyway, good times. At some point I'll post studio reviews, but I want to try several lessons at each before I do so, and time and money will make that a longer term project. In the mean time, if you want a studio recommendation despite my limited experience, contact me.
Update: the proper terminology for "Hair Comb" is "face loop". Of course. For a guy that's incredibly verbal and spends most of his time all up in his head, I sure have a hard time learning terminology.
Monday, November 26, 2012
Saturday, November 24, 2012
Expert lesson - Tango and East Coast Swing
My studio had a travelling expert (Urs Geisenhainer from "Dancing with the Stars, 2009 as well as other credits) in town, and (along with an amazing demonstration tango he danced with the lady instructors), he held a workshop and private lessons; I participated in both.
The workshop focused on tango and was attended by students of all levels. Herr Geisenhainer managed the challenge of teaching different levels of students well; He introduced new steps, worked on basics, and provided styling advice all in the workshop. Despite the fact that as I write this, I'm not sure how he could have possibly done all that, it actually flowed very smoothly and didn't feel overwhelming. Plus I mostly learned a variation of shadow rocks that I'm anxious to work on.
My (our) private lesson was East Coast Swing, and was shared with my East Coast Swing partner. After watching him dance Tango and teach Tango, I was tempted to stick with Tango (which would probably have been fine with my partner, as she's the biggest pusher of Argentine Tango you ever met), but of course I didn't. He helped us with several elements of our ECS, at first it was mostly styling, and let me tell you, this guy can swing. I've been having trouble with my walkaround turns (typical guy - I'm OK unless I'm asked to spin...), and not only did he fix that (I still have to practice, of course), but he really helped me see how to make them appropriate for swing (his demonstration of swing vs cha cha styling in walkarounds was very vivid - the Cha Cha walkarounds were upright and snappy, but with the appropriate hip movement, where the ECS walkarounds had a completely different hip and body swing that I can't describe... Big hip swings, rather than the comparatively subtle Cuban motion from Cha Cha...
But, man, it swung.
If you ever get a chance to watch, or better, learn from Urs Geisenhainer, take it. He's an awesome dancer, an insightful and enthusiastic teacher, and a genuinely fun guy to learn from.
Here's a Viennese waltz (my favorite), which he performed with several other dancers.
The workshop focused on tango and was attended by students of all levels. Herr Geisenhainer managed the challenge of teaching different levels of students well; He introduced new steps, worked on basics, and provided styling advice all in the workshop. Despite the fact that as I write this, I'm not sure how he could have possibly done all that, it actually flowed very smoothly and didn't feel overwhelming. Plus I mostly learned a variation of shadow rocks that I'm anxious to work on.
My (our) private lesson was East Coast Swing, and was shared with my East Coast Swing partner. After watching him dance Tango and teach Tango, I was tempted to stick with Tango (which would probably have been fine with my partner, as she's the biggest pusher of Argentine Tango you ever met), but of course I didn't. He helped us with several elements of our ECS, at first it was mostly styling, and let me tell you, this guy can swing. I've been having trouble with my walkaround turns (typical guy - I'm OK unless I'm asked to spin...), and not only did he fix that (I still have to practice, of course), but he really helped me see how to make them appropriate for swing (his demonstration of swing vs cha cha styling in walkarounds was very vivid - the Cha Cha walkarounds were upright and snappy, but with the appropriate hip movement, where the ECS walkarounds had a completely different hip and body swing that I can't describe... Big hip swings, rather than the comparatively subtle Cuban motion from Cha Cha...
But, man, it swung.
If you ever get a chance to watch, or better, learn from Urs Geisenhainer, take it. He's an awesome dancer, an insightful and enthusiastic teacher, and a genuinely fun guy to learn from.
Here's a Viennese waltz (my favorite), which he performed with several other dancers.
Friday, November 2, 2012
Argentine Tango and Lindy Hop
I took a couple Argentine tango classes, which are real eye-openers. I've mentioned I'm a slave to the beat, I can always hear and hit the beat, even when there are other beats in the air. I'm not steady enough to be a drummer, but I can get back on the beat pretty well (yes, I did play trumpet back in the day, why do you ask?). Anyway, those Argentines consider hitting the beat an optional extra. But god, it's beautiful and passionate and intimate, and it looks to be all about feeling where your partner is at, and communicating what you want. Without the crutch of the beat. Sensitivity and Leading. Apparently Argentine is the original tango, American/Ballroom tango is the derived form. Yet another dance I have to learn.
I also ended up in a lindy hop class. I was afraid it was too advanced for me, but it turns out it's just a jitterbug with kicking. Actually, apparently, lindy hop is actually the original dance, and jitterbug is the later sub-form (which makes sense, it's easier). Thank you wikipedia. Anyway, it worked out well, because I feel pretty good about my jitterbug. Plus, it's like the happiest dance ever. Impossible not to smile.
I also ended up in a lindy hop class. I was afraid it was too advanced for me, but it turns out it's just a jitterbug with kicking. Actually, apparently, lindy hop is actually the original dance, and jitterbug is the later sub-form (which makes sense, it's easier). Thank you wikipedia. Anyway, it worked out well, because I feel pretty good about my jitterbug. Plus, it's like the happiest dance ever. Impossible not to smile.
I'm such a sucker for a Waltz
Spent some focused time waltzing last night in preparation for an upcoming seekrit projeckt. Some notes to myself.
Turning your box happens on side-together (2-3 and 5-6), not the forward/back steps (1 and 3). I have a tendency to curve my backstep in particular. I don't even think about it, now I have to. Which resulted in some confused leads yesterday evening.
Leading on twinkle is a lot about rise and fall and planting us both on the landing on count 3, creating an opportunity for my partner to change weight and be on the proper foot. My partner kept ending up on the wrong foot, and having a hard time distinguishing between my leads for twinkle and for promenade hesitation. You'll say (and I was tempted to) "well, can't she count, can't she pay attention to what half of the box she is in" and the answer is yes she can, and maybe she should. But If I'm going to become the dancer I want to be, my leads must be definitive and unmistakeable, and I have to know at all times what beat we're on and where in the box we are, and tell her all of that with my body. Being indecisive and unclear is not acceptable.
Leading promenade is about right turning action with my right arm, and possibly about a little positive pressure with my left to snuggle her in as my right arm rotates. Plus, I really, really need to consistently lead or signal with my head. Not only does it help my partner, but it looks fabulous. And we want to look fabulous.
And I'm still working on automating rise and fall.
I'm listening deliberately and consciously to a lot of waltzes these days. Thank god for amazon mp3 sales/downloads and for YouTube. There are just so many waltzes I love, and so much of the music I love, and react most emotionally to, is waltz music. I'm starting to really wonder how much the song, the lyrics, the instrumentation even matters - whether it's just the waltz rhythm and the feeling of motion and flow and romance it inspires in me. In other words, I thought I liked, and was moved by particular songs, but now that I notice they're all waltzes, maybe it's not the individual song I like, maybe it's the category "waltz music". To wit, some of my favorite waltzes include:
Saturday Sun - Nick Drake - Most of Nick Drake's stuff is pleasantly depressive and morose, but this piece is wistful and romantic and hopeful. Turns out it's a waltz.
Sweet Baby James - This seemingly simple song is surprisingly moving, and turns out it's a waltz.
Play me - Neil Diamond - There are about 4 or 5 Neil Diamond songs that I like moderately well. This one is by far the most moving. It's a waltz.
Valz after Jan-Olof Olsson - JPP JPP are a Finnish folk group that I ran into at a folk music festival I attended with a friend. There are a bunch of fiddlers, a bassist, and they often use a nyckelharpa, which is like a keyed fiddle with drone strings (I swear it's true - google it) that make it sound a lot like a set of bagpipes. Plus, it looks like a bear to tune. Anyway, these guys were fiddling along and I was enjoying it moderately well, but nothing particular was standing out. Then they started this tune that began with a lone nyckelharpa singing out wistfully, and when the other fiddlers and bassist joined in, it was like blown-away man. The sound and emotion hit me in the chest and woke me up and I was suddenly and very emotionally engaged. Turns out the Finnish word is "Valz"...
Take it to the Limit - Eagles - I'm a big Eagles fan, this is one of my favorites. Waltz.
Blue Spanish Sky - Chris Isaak I'm a Chris Isaak fan too, but favorites... Waltz.
If you Don't Know Me By Now - Harold Melvin and the Blue Notes, or Simply Red, or Seal, or many others. Let's just say I don't even know any other songs by Harold Melvin and the Blue Notes (I don't think...), but... Waltz.
Nothing Else Matters - Metallica Far and away my favorite Metallica tune. Waltz
The Wreck of the Edmund Fitzgerald - Gordon Lightfoot. I didn't know I cared so deeply about the Great Lakes maritime tradition, and the risks that merchant mariners take in the name of commerce. Maybe it's just the fact that it's a waltz. Actually, it's a *Viennese* waltz which is like the triple espresso of waltzes (so are a bunch of the above....)
The Rainbow Connection - Kermit the frog. Seriously? I'm getting a little emotional over a song by a muppet??? I blame the waltz.
Natural Woman - Aretha Franklin
Come Away with Me - Norah Jones
Moon River - Andy Williams
Iris - Goo Goo Dolls
(I can't help) Falling in Love with You - Elvis
Eidelweiss and My Favorite Things - The Sound of Music (Viennese, naturally)
Lara's Theme - Dr Zhivago
Time in a Bottle - Jim Croce
Kiss From a Rose - Seal
Que Sera, Sera - Doris Day (Viennese)
You Light Up my Life - Everybody
Three Times a Lady - Commodores
House of the Rising Sun - Animals
Annie's Song - John Denver (Viennese)
Themes from Romeo and Juliet, The Godfather, The Cider House Rules, even Finding Nemo
If you want a romantic, wistful, moving, flowing song with a lot of momentum (emotional and physical), you want a waltz.
Turning your box happens on side-together (2-3 and 5-6), not the forward/back steps (1 and 3). I have a tendency to curve my backstep in particular. I don't even think about it, now I have to. Which resulted in some confused leads yesterday evening.
Leading on twinkle is a lot about rise and fall and planting us both on the landing on count 3, creating an opportunity for my partner to change weight and be on the proper foot. My partner kept ending up on the wrong foot, and having a hard time distinguishing between my leads for twinkle and for promenade hesitation. You'll say (and I was tempted to) "well, can't she count, can't she pay attention to what half of the box she is in" and the answer is yes she can, and maybe she should. But If I'm going to become the dancer I want to be, my leads must be definitive and unmistakeable, and I have to know at all times what beat we're on and where in the box we are, and tell her all of that with my body. Being indecisive and unclear is not acceptable.
Leading promenade is about right turning action with my right arm, and possibly about a little positive pressure with my left to snuggle her in as my right arm rotates. Plus, I really, really need to consistently lead or signal with my head. Not only does it help my partner, but it looks fabulous. And we want to look fabulous.
And I'm still working on automating rise and fall.
I'm listening deliberately and consciously to a lot of waltzes these days. Thank god for amazon mp3 sales/downloads and for YouTube. There are just so many waltzes I love, and so much of the music I love, and react most emotionally to, is waltz music. I'm starting to really wonder how much the song, the lyrics, the instrumentation even matters - whether it's just the waltz rhythm and the feeling of motion and flow and romance it inspires in me. In other words, I thought I liked, and was moved by particular songs, but now that I notice they're all waltzes, maybe it's not the individual song I like, maybe it's the category "waltz music". To wit, some of my favorite waltzes include:
Saturday Sun - Nick Drake - Most of Nick Drake's stuff is pleasantly depressive and morose, but this piece is wistful and romantic and hopeful. Turns out it's a waltz.
Sweet Baby James - This seemingly simple song is surprisingly moving, and turns out it's a waltz.
Play me - Neil Diamond - There are about 4 or 5 Neil Diamond songs that I like moderately well. This one is by far the most moving. It's a waltz.
Valz after Jan-Olof Olsson - JPP JPP are a Finnish folk group that I ran into at a folk music festival I attended with a friend. There are a bunch of fiddlers, a bassist, and they often use a nyckelharpa, which is like a keyed fiddle with drone strings (I swear it's true - google it) that make it sound a lot like a set of bagpipes. Plus, it looks like a bear to tune. Anyway, these guys were fiddling along and I was enjoying it moderately well, but nothing particular was standing out. Then they started this tune that began with a lone nyckelharpa singing out wistfully, and when the other fiddlers and bassist joined in, it was like blown-away man. The sound and emotion hit me in the chest and woke me up and I was suddenly and very emotionally engaged. Turns out the Finnish word is "Valz"...
Take it to the Limit - Eagles - I'm a big Eagles fan, this is one of my favorites. Waltz.
Blue Spanish Sky - Chris Isaak I'm a Chris Isaak fan too, but favorites... Waltz.
If you Don't Know Me By Now - Harold Melvin and the Blue Notes, or Simply Red, or Seal, or many others. Let's just say I don't even know any other songs by Harold Melvin and the Blue Notes (I don't think...), but... Waltz.
Nothing Else Matters - Metallica Far and away my favorite Metallica tune. Waltz
The Wreck of the Edmund Fitzgerald - Gordon Lightfoot. I didn't know I cared so deeply about the Great Lakes maritime tradition, and the risks that merchant mariners take in the name of commerce. Maybe it's just the fact that it's a waltz. Actually, it's a *Viennese* waltz which is like the triple espresso of waltzes (so are a bunch of the above....)
The Rainbow Connection - Kermit the frog. Seriously? I'm getting a little emotional over a song by a muppet??? I blame the waltz.
Natural Woman - Aretha Franklin
Come Away with Me - Norah Jones
Moon River - Andy Williams
Iris - Goo Goo Dolls
(I can't help) Falling in Love with You - Elvis
Eidelweiss and My Favorite Things - The Sound of Music (Viennese, naturally)
Lara's Theme - Dr Zhivago
Time in a Bottle - Jim Croce
Kiss From a Rose - Seal
Que Sera, Sera - Doris Day (Viennese)
You Light Up my Life - Everybody
Three Times a Lady - Commodores
House of the Rising Sun - Animals
Annie's Song - John Denver (Viennese)
Themes from Romeo and Juliet, The Godfather, The Cider House Rules, even Finding Nemo
If you want a romantic, wistful, moving, flowing song with a lot of momentum (emotional and physical), you want a waltz.
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