Is the CBMP we're talking about here a continuation of the RF CBMP on 1 - that is, the left hip is moving forward of the right hip, so sort of a side lead with respect to the LF on step 2 - or is it a reversal to CBMP with respect to the LF on step 2, and the right hip is now moving forward faster than the left hip?
I'd say, rather: past a certain point, we don't commit errors, we have a personal style. I'm not talking syllabus dancers, obvs. Otherwise, why is there even a difference between, say, the Hiltons and Hilliers or Wood/Lewis, or Sinkinsons? Sometime, it stops being mistakes, and becomes style.
Clean as can be. The best videos I found for absolute precision, especially her. Her footwork knocks me out.
I agree with this... If it is done intentionally, with purpose and reason, exactly as the dancer means to do it, it is no longer an error or a mistake. I see an error as something we might do because we have a lack of knowledge in an area. I see a mistake as something we do because our body is not trained enough... Maybe in isolation we can do it correctly, we know the theory, but in the middle of a line, we fail to execute it. I make a lot of mistakes.
I remember one time I was trying to figure out some subtlety about outside partner, and I searched through that year's Blackpool video to find one of the top professional couples doing outside partner to try to figure it out. None showed up until most of the way through the foxtrot in the final. Then I realized the former top couples with whose dancing I was familiar also tended to avoid outside partner actions, preferring in line actions, such as preferring continuous waves to reverse wave back feather. When I finally found a video of the then World and British champions doing outside partner - in a demo, not in a competition - it actually didn't look very good, with the man's right hip pushing through and pushing the lady's hips out of the way.
Maybe different couples have different strengths. The Hilliers were closest to the same height, making it easier for them to maintain more perfectly parallel shoulder lines. John Wood was much taller than Anne Lewis, so she had to use amazing foot and ankle articulation to keep up with him, and once she had them, she could use them everywhere. The Hiltons always seemed to have a special rapport that gave their partnering a special quality. The Sinkinsons seem to have been expert at the technique of lead and follow, in ways that were transferable to and served them both well in later partnerships, and while still together the magical accuracy with which Loraine's feet followed Andrew's was spooky.
I love Karen Hilton's footwork too, but one local coach apparently disliked it. Unfortunately I never heard what specifically he disliked. Then again, every couple I knew said he was their worst judge, so maybe he disliked everything!
THIS. Her feet in T and Qs are just ugh…..*chef’s kiss*.
OMG SO MUCH THIS. The link alone… DANG.
The ENTIRE WDSF. Total change of style. It’s your taste or it’s not, but it’s a style.
so odd. I find reverse turns significantly easier than natural turns. Chacun a son goût.
But are you sure this is the way he actually danced? Below is a still of Peter and Brenda at the end of step 1 of the Natural in waltz. Not only he has turned his RF out somewhat relative to the previous alignment (the "commencement of turn"), but his body is almost facing the wall as I described above. His execution seems very compatible with classic CBM. Also look at the lady's body.
