Standard dancer adding smooth?

[ProgressNotPerfection]

I can force my body to turn that way, but it involves way more rotation between the hips and the rib cage than I associate with CBM, or than is comfortable for me. Still, I'll try to remain open minded on it as a teaching technique while awaiting results.

I never rotate that extremely in the dance itself. But I keep practicing it on the principle that you should frequently train with movements larger than the ones you use in your event, so that the actual range of motion feels easy.

Exactly! You nailed it. After Pro2 and I danced our few steps, I told him it didn’t feel like I was using much CBM at all. He said I was doing plenty, and yes, it was much less than in the practice exercise, because I was doing it while connected to a partner.

And on that note, I gotta say, the connection between partners is SO COOL to me in closed dance hold. I picture something like an arch bridge, where the opposing pressure force is what makes it so sturdy. (Note to engineers, physicists, and the like: I am using these terms as a layman. There’s no need to explain to me what “force” and “pressure” mean in your world, because it will go right over my head.)

 

[ProgressNotPerfection]

I hope PnP will please correct me if I'm wrong, but I'm pretty sure she has already backed away slowly from that thread.

Indeed! This was my final contribution in the thread 'International Standard Waltz: CBM vs no CBM'
https://www.dance-forums.com/threads/international-standard-waltz-cbm-vs-no-cbm.49531/post-1149197

I think she's watching in morbid fascination.

Warren, you know me well!

 

[ProgressNotPerfection]

facing the mirror, stand with feet together and hands flat on ribcage, elbows pointed out away from body. Step forward on RF and turn upper body so that left elbow is pointing straight at the mirror.

It turns out I forgot to mention an additional important detail.

When you step forward, if your front foot is turned out (the way mine always are unless I smack them into forward-facing submission), then it's a piece o' cake to rotate far enough for your elbow to point at the mirror.

But if your foot is NOT turned out, and you keep your front toe and knee facing straight at the mirror, then yeah, it's almost impossible to simultaneously point your elbow at the mirror.

Either way, it's a useful exercise to increase core flexibility and range of rotation.

 

[Warren J. Dew]

And on that note, I gotta say, the connection between partners is SO COOL to me in closed dance hold. I picture something like an arch bridge, where the opposing pressure force is what makes it so sturdy.

Wait ... weren't you already using closed dance hold in Smooth? What are the differences you are feeling in Standard?

 

[ProgressNotPerfection]

Wait ... weren't you already using closed dance hold in Smooth? What are the differences you are feeling in Standard?

Yes, I was! So that’s a really good question. Maybe it just feels different to me because the closed hold lasts longer than a couple bars. Or maybe it’s due to the different heights/builds of the two men. Idk.

 

[blackswan]

Yes, I was! So that’s a really good question. Maybe it just feels different to me because the closed hold lasts longer than a couple bars. Or maybe it’s due to the different heights/builds of the two men. Idk.

Personally, I didn't feel that I understood closed hold at all when I initially switched from Smooth to Standard. The level of precision Standard demands to dance a full minute or minute+ routine in closed hold far exceeds that needed to dance 3-4 figures in closed position in between open work as is typical is Smooth Bronze routines. At least that was my experience.