"... 3 Greatest Dances To Learn ..."

[DancePoet]

On another thread Angel HI mentioned how "AT, is one of the 3 greatest dances to learn because in its most basic sense, it is solely based on natural walking." I asked what the other two were, and the reply was Bolero and International Slow Foxtrot.

This thread is started inorder not to completely hi-jack the other thread.

So the question now is ... what are the reasons for the other two?

And perhaps the secondary questions could be ... what would others feel are the "3 greatest dances to learn" and why?

[Chris Stratton]

In slowfox, natural walking is the first stage, and making it all look like natural walking is the last stage ;-)

Too bad we can't just fast forwad through the years of building foot strength, balance skills, comfort in side lead and CBMP positions, and all of the other new competencies that come in between.

In essense, slowfox is what natural walking would be if we moved our legs three times during a single step's body action, and that single step took three times as long and covered three times as much ground as usual.

[Angel HI]

Too bad we can't just fast forwad through the years of building foot strength, balance skills, comfort in side lead and CBMP positions, and all of the other new competencies that come in between.

In this, we agree completely. I have always taught, having learned the concept from Peter Eggleton many years ago, that the essence of BR is the abilty to rise/lower and good CBM/P.

In slowfox, natural walking is the first stage, and making it all look like natural walking is the last stage ;-)

In this, we agree completely, save for one thing....

In essense, slowfox is what natural walking would be if we moved our legs three times during a single step's body action, and that single step took three times as long and covered three times as much ground as usual.

Natural walking does not have the rise/lower (heel, toe, toe) of the basic 3 step walk of SF, nor the lilt on step 2 of the 3 -Step. But, I understand, and agree with your point.

Should we tell the others that we are agreeing in another thread, and watch them all fall over dead? :lol:

[Chris Stratton]

Natural walking does not have the rise/lower (heel, toe, toe) of the basic 3 step walk of SF, nor the lilt on step 2 of the 3 -Step. But, I understand, and agree with your point.

Yeah. I was sort of but perhaps illegitimately thinking of that as being a potential part of the giant step analogy. I had actually added a sentance about it looking like dancing on the moon might, only our feet hovering to cover for the fact that we aren't, but then took it out because instead of a gracefull impossibly slow hovering lope, that might conjur up images of bouncing.

Oh, and i'd kind of simplified it to continuous waves but with the guy going forward so a little more muted in shape changes... you can get away with stuff like that in mental imagery.

Should we tell the others that we are agreeing in another thread, and watch them all fall over dead? :lol:

Well, I think they'll be safe due to our disagreement over our degree of agreement in the other thread.

[Chris Stratton]

Curious about bolero choice though... especially given the repuation as a studio invention.

[Angel HI]

On another thread Angel HI mentioned how "AT, is one of the 3 greatest dances to learn because in its most basic sense, it is solely based on natural walking." I asked what the other two were, and the reply was Bolero and International Slow Foxtrot.

This thread is started inorder not to completely hi-jack the other thread.

So the question now is ... what are the reasons for the other two?

And perhaps the secondary questions could be ... what would others feel are the "3 greatest dances to learn" and why?

AT is, more than all other dances, based solely on the natural movement of balancing over one step at a time, and moving through the legs to the next place. Because of the nature of the movement, the options for what the next movement is and where the place is are greater than many other dances. Further, because of the "embrace" (a more natural form of "frame"), the intricacies of the lead/follow are invaluable as a learning tool for other dances.

The American tango, when danced well (not marchy as seems to be a precedent), resembles the AT much in terms of movement and footwork. Learning to dance in the middle, as opposed to from foot to foot as in other dances, increases one's awareness insurmountably for this and other dance movement skills.

Bolero (American) is a beautiful dance. I am extremely unhappy that the Bolero, since the intervention of DS, has taken on a different appeal, or trend, and lost much of its soft infinity. This was its greatest contribution to dance. Learning this dance, in its former form of glide/rise, whisk, and slight body roll on the lead's left, is paramount to becoming the best that one can be. The benefits here are: impressive contra-body movement, glide, sustained rise, impeccable balance (whisk), controlled lowers, and infinitive movement.

SF, Slow Fox has been discussed above by Chris. This is the dance that all serious BR dancers want to master. This is the highest peak. The most important things to learn in this dance...rise/lower, CBM/P, in-line and outside partner positioning. Also, how to sustain movement over a series of underlying beats. To learn how to execute and control the soft, almost slow motion, smooth, elegant movement of this dance, together with the infinitive rhythm movement of Bolero, and the mid-weighted movement of tango, will teach dancers everything they need to know in order to be a top dancers.

[Angel HI]

Curious about bolero choice though... especially given the repuation as a studio invention.

Again, agreed. But, I hope that the above post will clarify.

[fascination]

I guess I am going to twist this and just say that of the 4 ballroom styles that I dance, if I could only dance 3 it would be smooth tango, smooth vw, and rhythm cha cha....(gasp...not waltz or bolero...hey, things change)...why?, dunno...just enjoy them the most

[Peaches]

I'd give them all (ballroom anything) up in a heartbeat for the the feel of a good AT embrace.

Oh...wait...I already did that. :-)

[Spitfire]

WCS, Cha Cha, I'm unsure about the third.

[Peaches]

I guess I am going to twist this and just say that of the 4 ballroom styles that I dance, if I could only dance 3 it would be smooth tango, smooth vw, and rhythm cha cha....(gasp...not waltz or bolero...hey, things change)...why?, dunno...just enjoy them the most
We'll really die of shock when you mention swing.

[fascination]

it IS moving up in the ranks

[tangotime]

Curious about bolero choice though... especially given the reputation as a studio invention.

Are not ALL dances pale copies of their original forms, emanating from, usually the lower stratas of society? ( rhetorical ), and embelished by the " dancers" of the day, subsequently passed on to each generation .

Bolero, is probably closer in its basic concept ( and Sq. rumba ), than most any of the other partnership dances as currently performed .It still retains many of its basic characteristic movements , primarily because the music has remained virtually unchanged .

As to studio invention--- like most of the B/Room figures are not ??

If one looks at its ( Bolero ) musical origins, it is still essentially composed in the same manner . Few other dances can lay claim to that .

PS-- my 3 choices --- Slow trot-- Salsa and T/ Arg.--( this is so subjective )

[danceronice]

Smooth Tango (until I learn International), ECS (my pro will faint if he reads this--my old pro would die of shock), and Bolero, which is currently kicking my butt, but I want to be good at it very much....

[Angel HI]

Do we remember that the Op is which 3 dances does one believe to be the most important to the learning of dance. Some choices are rather odd, as it seems that many are replying to which 3 dances they like, in general. On a side note, I find it interesting that TT and I agree on 2 of the 3.

[fascination]

well drat.....okay...I think waltz, tango, and rumba because(between the three of them) they capture a spirit that can be transferred to almost any song...in my own non-theoretical view

[wooh]

Do we remember that the Op is which 3 dances does one believe to be the most important to the learning of dance.

I think that was actually said on another thread that a lot of people have been avoiding.:)

[Sabor]

Salsa
Flamenko
Jazz

[Angel HI]

I think that was actually said on another thread that a lot of people have been avoiding.

I was actually referencing this post from this thread. http://www.dance-forums.com/showpost.php?p=494663&postcount=1

Between you and me, it's probably a good idea to avoid that other one. :)

[danceronice]

I am now afraid of the Other Thread. I think it has broken my brain.

[Angel HI]

Mine too..................... http://www.mysmiley.net/imgs/smile/confused/confused0064.gif (http://www.mysmiley.net/freesmiley.php?smiley=confused/confused0064.gif)

[tanya_the_dancer]

If I had to pick just 3, my choices would be waltz, tango and quickstep. I guess I am a standard dancer at heart.

[Angel HI]

No contention, but why? I am hoping that this thread will point out the benefits of each dance as they apply to the dancer as well as the other dances.

[Peaches]

Would it be cheating to say tango, milonga, and vals? ;-)

[MissBallroomBear]

I'll have to say Cha Cha, Tango and Waltz.

[Angel HI]

Tanya, Peaches, MBB,

Please come back and share why you believe these dances to be the best contributors to one learning to dance. I'm really curious.

[Peaches]

Oh, I was just being facetious. If you're talking about the three best dances to learn for the technique they each convey...I've got no clue. If we're talking about favorite dances...well, nothing holds a candle to AT for me.

I've kinda got a soft spot for swing, just b/c of it's exuberance; ditto for quickstep and vw...but I suck at those and kind of avoid them.

So...AT.

[MissBallroomBear]

I suppose it's about balance for me. There's the cheeky and fun Cha Cha, the sexy and passionate Tango and the graceful and slow Waltz. They kind've balance each other out. (The fact that they're my favourite dances has nothing to do with it:rolleyes:).

[wooh]

Going along with MBB's theory, I'd have to say waltz (for the elegance you learn), cha (for the quickness and sassiness you learn) and then I'm torn. To go with the "balance" I'd probably have to go in a direction that I don't like to go. How about I just say one should learn 2 dances?:)

[Angel HI]

If you're talking about the three best dances to learn for the technique they each convey...I've got no clue. If we're talking about favorite dances...well, nothing holds a candle to AT for me.

Many know me as the AT teacher, and on a given day, I would have to agree with you. But, on another given day, the Slow Fox sneaks in at the #1 spot. Then AT and SF battle it out all day for my favori. It is so difficult because they have such similarity and so much to offer dance.

[Peaches]

Heh. And I hate SF with a passion.

Could you explain this statement a bit further?It is so difficult because they have such similarity

Edit to add: I guess I could make reasoned arguments for the three AT dances. From vals you learn fluidity, it's the "romantic" one of the three, and it seems to combine some of the always-in-motion aspect of milonga with some of the stateliness of tango.

Milonga teaches lightening fast weight changes, creativity under fire (for the leaders, at least), and requires excellent connection and following-sans-thinking, which I feel is almost a skill in itself. It's the playful release of the three.

And tango...well, tango is just pure elegance. What can I say? It's the foundation. Posture, carriage, waiting...it's all learned here. With the available time from the (generally) slower tempo, and the inherent pauses, the pressure is on to learn to dance even while not moving. It's the showcase for expression.

[Angel HI]

Heh. And I hate SF with a passion. Could you explain this statement a bit further?
Quote:
Originally Posted by Angel HI http://www.dance-forums.com/images/buttons/viewpost.gif (http://www.dance-forums.com/showthread.php?p=496889#post496889)
It is so difficult because they have such similarity

And tango...well, tango is just pure elegance. What can I say? It's the foundation. Posture, carriage, waiting...it's all learned here. With the available time from the (generally) slower tempo, and the inherent pauses, the pressure is on to learn to dance even while not moving. It's the showcase for expression.

For those who have learned and danced SF from the inside out not the outside in (from the concepts of movement rather than from a syllabus), we learn that you have answered your own question. Take your last statement above, and replace Tango with SF. Its rise/lower, something missing from AT (I don't say that negatively), is what gives it slower tempo, inherent pauses, and specifically its need to dance even while not moving.

Now, don't get me wrong. By no means am I going to place SF above AT on my Favori. I just list them side by side depending upon the mood if the day. :)

[NielsenE]

Seem like I'm going to be in close agreement with several..

SF or IR or Bolero AND AT or Hustle or WCS AND student's inspiration

SF for the reasons already explained -- it allows for the "best" journey/progression for understanding the movement of two bodies and involves nearly all the concepts needed for such. And as such will normally evolve along a very "technical" progression. If the student has no intent on learning standard, however, I think Bolero could be substituted for SF, since its another "universal" dance covering practically all concepts of moving two bodies as one and tends to require the same technical focus. If a latin-only person balks at learning Bolero, IR could be substituted, but SF is probably the better choice for them.

One of the Lead/Follow disciplines -- since you need to learn (and I beleive this needs to start from the beginning and not only after you've mastered the technique) how to move your self, your parter, or the couple. You need to learn the dialogue, you need to learn to dance rather than move. For a well-rounded (multi-style) dancer, I'd probably suggest not-AT, for a standard only dancer, then AT would be the best choice here.

Finally, I think the third dance will change. It should be whatever dance most captures the excitement and imagery of dancing for the student in question (and yes this will be different for each student, and will change over time for a student, and at times it might mean there's only two dances on their plate). This should be the training that helps them learn to let the emotions flow through their dancing; it should epitomize the reason they want to dance.

or in other words:
1) Two bodies moving as one
2) dancing as conversation
3) Physical expression of music and emotion