Discussion in 'Ballroom Dance' started by pygmalion, Dec 28, 2003.
My favorite picture line
There's not a lot I can say specifically about your balance without seeing you do the figure, but in general, I would pay attention to where your hips, your standing knee, and shoulders/head are while your free leg is developing. Are your shoulders too square? Hips not far enough forward? Are you letting your body move as the leg moves, to compensate for the changing balance?
And I agree with those who said you're better off balancing with your heel off the floor, rather than being flat. My coach told me a couple weeks ago (in the High Line in QS) that I'd be better balanced that way, AND my partner would have better control over my shape.
I'm just putting this out there, I have no idea why anyone would be more balanced with the heel off the floor. Maybe if the tendency is to have weight back in the heel, then rising on the toe forces weight forward into the toes, which is more stable (if you're backweighted you will fall over) but as long as weight is in your toes to begin with.... greater surface area means greater stability.
Most of the time I feel off balanced forward and towards my standing leg. Maybe I'm over compensating, or trying to get over it too quickly to have enough time for the extension.
Don't do 'em myself ;-), but I noticed a pro at a showcase arching her back way back into a C-shape and rotating her body to her right. FWIW.
It frequently happens that the teacher says something trying to correct a particular problem and the dancer accepts it as the universal truth. Of course greater surface means greater stability - it's elementary physics
not claiming expertise...that being said, my first focus is usually to take a big enough step back to have room to shape, then to focus on elevating my hips, lengthening the side closest to the man and taking my sternum and head up and over before I ever even worry about the leg, then I think of raising it slowly and close to my body with the toe pointed so that the kick happens at the very last moment before the foot comes down ....and we are on to the next thing....if I rise to the ball it is only at the last moment
I will have to try this!
So I just got a new partner after a semester going TBA, my new partner keeps his hands very low (about waist level) in the develope, but I was a ballet dancer and have beautfiul extensions and good balance that I have maintained from ballet. I think this comes from his last partner not having incredibly good balance and some necessity to stabilize her, but he insists the added stability should not be sacrificed for height. That being said, I feel like we're sacrificing one of my strengths in favor of something that isn't helping me. My previous partner would move his hands up to about shoulder level during the develope to make room for my extension, and it seemed to work rather well. Likewise none of my TBA partners seened to have made issue with my extension, and one of them had an open level dancer from his team look at our Smooth before we went on the floor with it. The open level leader looked at our develope and looked at me and said "Now, tell me, what level do you NORMALLY compete?" (at which point in my head I'm thinking "oh god, I look like I'm only Bronze!") and when I replied I always compete Silver, he replied that he would have thought me Gold from my develope. So it is something I'm really questioning, in short, where should the leader's hands be during the develope/does it matter? If the follower remains stable largely on her own is it okay to sacrifice the leader's ability to stabilize her for her ability to create height in hwr develope?
Are you referring to a develope in closed hold or in a two hand, no body contact position?
Pretty sure she's referring to the typical American Smooth version, check to develope from two-hand hold. And yeah, she can raise her foot to beyond head level easily. I was taught a lower hand hold, maybe about chest level, and usually just angled the develope-ing leg so that the foot ended at the highest point of whatever the handhold was at the time.
2 hand hold.
If you are both shaping appropriately, your left side and left hand will be higher then your right, and you will have room to lift your leg past waist level. If neither of you shape then his hands will be in your way. I would pay more attention to the shape than simply the height of the hands.
And I can always spot a ballet develope being used instead of a ballroom develope. And I can always spot a girl that is simply doing it herself instead of being lead/shaped by her leader. So just because you CAN lift your leg without him... it is not advisable.
Does this applies in closed hold as well? I only dance standard.
...as in same foot lunge develope?
It is not in the spirit of the smooth style (or really, ballroom dance in general, actually) to perform any move on your own, with minimal or no support/stability from your partner. Like Larinda referred to, it's easy to spot dancers who develope on their own, and if you're just doing the move yourself, then it's not partner dancing! My advice is to make sure that you are relying on your leader for the develope and allow him to shape you in order to maintain that "push/pull" that is the essence of smooth, and figure out where his hands should go from there, and not just dictate "they should be higher" or "they should be lower." And really truly letting him lead you and support you will also help him learn how to be a better leader, instead of you just doing all the work
Truth. The worst feeling is having your coach tell you that you are a selfish dancer. I hate also being told that im carrying my partnership when I know my partner works just as hard or even harder sometimes (honestly) than I do. But I digress. Yes it's is all about leading and following and defeats the purpose of partner dancing if you do things on your own
In addition to the left-side-higher-than-right idea in the developpe, I would think having that "higher" connection with "more room" would destabilize the partnership if you're each using your weights correctly. Your handholds are your two points of connection from body to body, and if you elevate that common center to a place out of whack with both your center and his center, that would be a dead giveaway of a you-don't-really-need-your-leader-to-pull-this-move-off sort of thing.
Don't know about smooth, but in international style, according to one of my teachers who has a word about that in educational section of ISTD, no basic figure needs stability "support" from the partner. That however changes on upper levels, but basic figures are "spirit of the dance". However, I agree about not performing any move on your (follower's) own and similar things and I like to play with "support" in all dances I'm dancing
However true that may be for the basic figures in Standard (and the two-hand developpe in Smooth is, for all intents and purposes, a "basic" figure too), it's one thing in Standard when you have those consistent five points of connection. It's another when you only have two.
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