Download or read here as a PDF By Frank Alback, editor Len Scivener, Josephine Bradley, Alex Moore, Len Colyer and Phyllis Haylor Beyond the Gold
Further Resources: The Physics of Dance Physics and Dance Alignment of blocks of body weight: Head Upper Torso, Ribs and Back Hips & Center
Use of Weight to Produce Movement Master Class By David Hamilton Notes, comments and interpretations by Paul Hughes Body in Motion Using the terms and vocabulary
Twenty-four dance couples performing at the 2011 IDSF (International DanceSport Federation) International Slovenia Open were separated into two groups. Time and speed of movement were analysed during single natural and reverse turns performed during the Viennese waltz. The results are of value to dancers and coaches alike.
When I was competing what now feels like 100 years ago, Tango was at one stage my worst marked dance. So I spent quite some
Many many times I have heard this from people of all levels. The cause of this I hinted at during my last article. Many articles on these pages are based from a man’s stand point. In this one I have tried to give the ladies view point as well. Normally this is on the inside of an open reverse turn i.e. an open telemark. I hinted at it in my last little bit of writing that caused a “war and peace” type debate with Benoit Papineau.
An easy question to answer one would think. The technique books tell us
Pretty straight forward really, until you start to analyse the mechanics of each individual step and what a forward step means.
It is my deepest conviction that many dancers don’t tap their full potential, and that this is mainly due to monotonous and one-sided training. Many dancers will experience an unbelievable amount of progress if they follow modern and scientifically proven ways of training.
In ‘target orientated’ techniques we see a functional movement with a clearly defined target to perform. Here, it is not judged how a movement itself is executed. However in combination sports, technique is not just the means to end on but a means of artistic expression and a criterion for judging.
In recent years (by recent I mean anything from the sixties on) much ado regarding the difference between the Rhumba walks in American Style contrasted to that of what is now known as International Style has been a hot topic to which continuous emphasis is lent with the emergence of each new generation of dancers.
Much has been said on these pages and others regarding the timing or the lack of it these days, in Slow fox and Quickstep a slow relates to two beats and a quick one beat (4/4). But what does slow and quick mean in terms of relative time?
Done correctly, leading and following could, like no other, elevate ballroom dancing to the level of an art form. Done correctly, leading and following could, like no other, bring an undeniable clarification of the equality of the genders.
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