Swing Discussion Boards > Lanza Six Count Lindy

Discussion in 'Swing Discussion Boards' started by Black Sheep, Aug 11, 2003.

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  1. d nice

    d nice New Member

    See SD I think his analogy is pretty accurate. What some see as being unique is not, what some think is beneficial in fact is not in the long run.

    Joe I already pointed out to you that various parts of your method are used already. There are two different ballroom studios in Sacramento that use the same methodology for East Coast, West coast and a modified version for Salsa. The whole "cifer" and "code" idea is hardly unique.

    I've also told you that I myself started with a method incredibly similar to this when I started teaching ECS. I abandoned it once I realized that it was too mechanical in its methods, too intellectual for my purposes. Instead of teaching others the way I had been taught I adapted the methodology I had been taught to teach Hand to Hand Combat. It is based on natural reactions, economy of motion and body mechanics. I found that I achieved better results and my students enjoyed the process more.

    I have used the process as you outlined it and while it achieved the stated goal it was not superior to the method in it's variances from the method I had originally used to teach ECS and is in my estimation limiting to those who wish to continue to progress in their dancing. Followers who depend on the cipher are caught unaware when the leader improvises, and swing dancing without improvisation isn't swing dancing as far as I'm concerned.

    So while you may have been the first person I am aware of to put all these things down, in this specific order, in writing, it does not differ substantially from existing methodologies to be considered original, nor does it achieve a superior result than those methods or several others that bear little to no resembalance to it.

    If you are basing it's originality on the teachers in L.A. I'd highly sugesst you travel outside of SoCal before making such claims.
     
  2. Black Sheep

    Black Sheep New Member

    Uniqueness of Lanza's 6 Count Lindy TM:

    Dear Skeptics Anonymous,
    What makes the Magic Pill uniquely different? Let me list Six factors that up until my Magic Pill was first distributed the last week of June, 2003. Since then and increasing, you are beginning to see my Lindy TM being employed internationally, and by this time next year there is no doubt in my mind that it will be a standard procedure in introducing wallflowers to the Savoy Lindy.

    [edit by DanceMentor - setting a new precedent here. I want to stay away from accusations of personal attack. There are some good points about the Magic Pills's benefits, but let's not goad others in adversarial manner. Your're awesome, Joe. Just want to keep things positive and fun for all.]

    Six Unique Factors NEVER before PUBLISHED as a method in teaching Swing/Lindy before the publishing of my 'Magic Pill' in November 1999:
    1) Beginning the lesson with a beginner in 'Push Position';
    2) Keeping the music on from the beginning of lesson to the end;
    3) With student gradually increasing their pace to reach in sync the tempo of the music;
    4) Having the student count, 1 &2, 3 &4, 5-6 continually in sync with their steps every beat of the complete lesson;
    5) Learning the footwork, leads and follow and rhythm simultaneously within the same 15 minutes period;
    6) Within minutes after completion of lesson, having students dancing with any dancer at any level present at the Venue.

    Now whatch the nit-pickers try to confuse you with their 'criticisms'
    of these Six Unique factors of the Magic Pill!

    Black Sheep, your friendly instructor.
     
  3. d nice

    d nice New Member

    Re: Uniqueness of Lanza's 6 Count Lindy TM:

    Actually these aren't unique to you. People have been teaching East Coast Swing for 50 years most of the good bad and mediocre ideas have been done already. The Salazar family here in Sacramento has been running a ballroom for quite some time and their dance manuals from the eighties actually have four of these six things for their ECS teachers' guide. Since you have yet to define the "push position" I can't comment if theire extended face to face position is the same one you use. If it is then that is five for six. When they teach ECS before their dances we then have six for six.

    I also know that the Ballroom of Sacramento also has four of these in their teachers manual, and when they teach ECS before their dances it bumps up to 5... when we have some description of "push position" then we can see if they also go six for six.

    What difference does it make if they use any or all of these ideas, and whether it is in writing or part of the oral transmission teachers recieve?

    Many of these techniques are and have been used for a while. They work. I recommend four of these six to anyone and everyone. I still don't know exactly what you mean by "push position" so I reserve criticism or compliments. I don't like numbers and prefer to use a rhythmic mantra as a mnemonic aide.

    Anything that gets people dancing to one degree or another and sparks interest is good. Don't take my criticisms of other parts of the pill to mean otherwise. If two people can not disagree in a reasonable and intelligent manner, there really isn't any point of discussion. If their isn't any point of discussion then there is no reason to post to a discussion forum.

    Dance-Forums is all about the exchange of ideas, be they kind, critical, or just a running commentary.
     
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