What hasn`t been mentioned is after the floor is down what type of varnish is going to be used. Be a bit wary of a two pack. We had a situation where a two part varnish was used, but come the time to re surface the product used had to be stripped. Nothing will stick to it, not even itself. It had to be removed completly right back to the bare boards. We often dance on vinal tiled floors as does Luca and Lorain. Google Luca and Lorain Foxtrot Demo to see.
Thanks for your input, That all makes since. I never knew why on the Amer. Tango fan, but that makes since. The piece we were practicing is for a performance, so I am not really worried about "Close Quarters". Sometimes we get so squished on the floor, I could very easily turn the ocho into a "Oucho". My main concern was the appearance, and of course technique. Thanks!ScottyBoysDoll
Inexpensive laminate flooring can have a wood veneer surface, and be a perfectly acceptable surface to dance on. Mostly, a solid wood floor is protected by a surface coating (wax preferably), and we are dancing on THAT, and while we can see the attractive woodgrain through it, we are not in contact with it, and the spring/give that a good floor comes from the way that the surface is supported (that is, the springing, however it is achieved) and it is nothing to do with the top layer itself.
The reason why both gentleman and lady close in the natural turn but cross in front in the reverse turn is that in the case of the natural turn we are turning towards the open side of the hold but in the case of the reverse turn we are turning towards the closed side*. Although the amount of turn is the same of course, the reverse turn feels "tighter" than the natural turn therefore and this is reflected in the different foot positions.
*In the normal hold, from the gentleman's point of view the left hand side of the hold is described as open even though the body position is closed.
I wanted to know what you think about a ladies ocho in dancing the tango. Is there a differnce or reason for lifting the leg higher, or keeping the landing tight at the ankles, or keeping the leg together and sweeping the floor with the toes to form
There is definitely a reason! What you are addressing are forms of style or adornment, and these are options that may be taken by the follow, or may at times be led.
An ocho is, for lack of a better way of describing it, a swivel. (If we want to be VERY technical here, that is loving called a "quatro," as it does take two to form that little 8 pattern on the floor, though one "quatro" does not mean another "quatro" must follow.) To execute a basic proper Argentine tango ocho you bring your ankles together (with weight still on the supporting foot) and rotate. The lady has options of embellishment for her free leg. She may flick, she may point, etc. In crowded social situations, the lady may opt to make a small beat at her ankle, or may opt for no embellishment at all. (Larger flicks, or boleos, may injure others if dancing on a crowded floor.)
To make a large fan, typically, the man leads this by lowering the lady. Her knees are now soft and she has the ability, or the room, to extend her free leg to create fan. If the lady is kept "up" by the man she will typically not make a large fan, but opt for a simple ocho or other embellishment, and these other embellishments do include the option of trailing the foot behind in a fan-like fashion. You may have noticed in your American that it is at times difficult to create fan, and this would be because the lead is keeping you "up."
I think a Natural Spin Turn an excellent figure to start a waltz sequence. Do you pivot properly on the first step of the spin, holding the RF in CBMP, ready to extend forward down LOD on the second step? A rather restricted rocking action is very widely danced by relatively inexperienced dancers, sometimes for years, without correction, and it greatly impedes the flow of the figure.
Lady's second step is LF back & slightly leftwards, and it is a key movement to make space for the extension of the Man's second step RF fwd, HT. That heel lead is very important.
Be careful with the idea of overturning the Spin. It is only at corners (and if you want, deliberately, for the sake of certain amalgamations) that we restrict the turn to 5/8. Along the side of the room, the spin will properly make 7/8, and the more we dance the standard turn, the less it will feel any effort.
Your F/trot remark needs clarification.. as is often the case, mis in formation abounds.
If you were refering to Children and Novice dancers, that could possibly be true.
To say it is NOT included in a Bronze level comp., is displaying a lack of knowledge about the Comp. circuit. I personally have adjudicated hundreds at that level, and majority have it included in their sequences .
As to advanced levels , even pro,s are using at as an entry for a Drop Ronde for e.g. ( a la Hilton )
maybe I should call Marcus and advise him not to use it !!
The one thing you should NEVER do to a ballroom floor is VARNISH!!!
Wood breathes.. if you let it , I dont know how many world class floors you have danced on but , from Blackpool to the Hammersmith palais, a waxed floor is what maintained their qualities for over 50 yrs .
If i could just make a few comments on this. One of the important aspects of beginner/novice/bronze syllabii is that it ensures that dancers develop skills in a range of fundamental movements. The DRS is tricky for a beginner to master, but we all went through this as part of technique development. A good teacher will know if the pupils have mastered it well enough for a competition, and also whether the movement suits the couple. Remember nobody dances every figure 'perfectly'. I still use it (as a pre-champ dancer) in foxtrot, but not all the time. It also can be fun to dance socially, since it takes up little space.
Which is why at least one major society puts it in the Silver syllabus, so it may not be appropriate for emsanchez yet.
This is all assuming emsanchez is competing. I don't think that was stated explicitly but most people here assume that if you have a bronze level routine it must be for competition. This has a bearing on advice given as everything said so far is valid if the dancers are on the floor before the music starts and hoping to make a good impression right from the start.
Socially however things may be different. When joining dancers already on the floor I always recommend starting with a reverse figure which mean the leader has a good view of the floor and any approaching couples. I hate it when a couple walks onto the floor and the man stands with his back to me counting the music, listening for the correct time to start.
"Your F/trot remark needs clarification.. as is often the case, mis in formation abounds."
Read the rules for sanctioning organizations, and you will discover that many of them recommend only waltz and either quickstep or tango for the bronze division competitions. Does bronze foxtrot exist? Yes - they don't prohibit organizers from offering it so some do, and other organizations may have other guidelines. But it's not as commonly offered as bronze waltz is.
"If you were refering to Children and Novice dancers, that could possibly be true."
Novice, yes, bronze competitive events are a subcategory of the traditional umbrella of "novice" - ie, "novice bronze, novice silver, open novice, etc"
"As to advanced levels , even pro,s are using at as an entry for a Drop Ronde for e.g. ( a la Hilton )"
I did not say that the DRS was not used at advanced levels; rather I said that the back half of the natural turn is rarely used there. The closed changes are also quite rare. They occur, yes, but there's a general preference not to end with the feet closed, especially when the man is moving forwards.
And the reason for that is that nobody, even world champs, can dance that lower and drive forward from foot closure action with the kind of fullness that they achieve elsewhere in their dancing. It's the first thing learned, but never mastered - by anyone.
and keeps dancing students where they belong - on the dance floor.
The frustrations of such deceptively simple moves and the feeling of accomplishment when you realize that you've mastered them are one of dances great rewards (in addition to improved health and a better social life).
The double-reverse spin (DRS) is the first real obstacle of difficulty that most beginning (BTIM first-year) ballroom students must overcome to start genuinely feeling like a dancer. Requiring more attention than the student has yet encountered in all physical aspects of the move, the DRS forces the student to commit to dancing or given it up.
Telemark. Something has to be put over the bare timber surface. If you were to put Wax Polish onto bare timber you would never in the future be able to coat it with a varnish of any kind. Be very carefull. Leave it to the experts.
"Telemark. Something has to be put over the bare timber surface. If you were to put Wax Polish onto bare timber you would never in the future be able to coat it with a varnish of any kind. Be very carefull. Leave it to the experts."
As terence has pointed out, true dance floors maintained for that purpose will never have varnish, so the inability of applying it in the future is of no concern whatsoever.
Many more commercial studios will use a varnish/polyurethance/etc finish, either out of traditional ignorance in the dance industry (which is not the same as the tradition of dance expertise), or for aesthetic reasons. If the finish is well chosen and has had a few months for the volatiles to evaporate it's not the end of the world.
Also if you have latin dancers who are going to oil there shoes, then a finish might make sense. But really better to prohibit this.
"This statement is utter nonsense on its face. The DRS is a standard part of the bronze repertoire and no one competes in bronze without it."
Well, you are simply wrong. Many people compete bronze without the DRS.
One of the first things the dancer has to learn is that there's a big difference between what is allowed and what is ADVISABLE. The new dancer rushes out to do all the "hard" figures - but it's not until they learn to concentrate on doing a few things well that they actually begin to advance.
"Also, a couple's competition level is pretty much always going to be lower than their current level of study."
One should be working on the DRS as well as heel turns in general and the drive from the standing heel that makes the prerequiste stable backwards walk possible. But by the time someone can execute the DRS at competition quality, chances are they do not fit into the community of bronze dancers any more. They might still be elgible to enter, but realistically they will be out of place competing against the others there.
"Really? Every competition which I've attended"
Well then you have not been attending the more rigorous amateur syllabus events, because most of those do not traditionally offer it. Perhaps you could list where you have seen bronze international foxtrot offered?
Where you will see that the bronze standard offering is a two dance Waltz-Quickstep event only. If you pull the relevant rulebook as I previously suggested you will see that it is not recommended to offer the the international foxtrot at bronze, though it is not prohibited for a competition to do so.
"Most amateur competitions asked students who have danced for more than two years to enter Silver or above. It does not take anywhere near even one year to develop a presentable DRS."
You said "presentable" while I said "advantageous". You may feel the execution is less than embarrassing; I would probably disagree, but more important would point out that winning is based on doing what you can do best. There is no checklist of compulsory material to be completed.
I was not infering that F/T was included at Novice level.. but to say its not included in Bronze, period, is patently not true. There have been many 3 dance comps that have included it instead of tango at a Bronze level .
I doubt you are old enough ( maybe ?) but Tango was considered a silver level dance and the Novice Div, was 3 dances at some stage .
My other point was towards DR spin, that its inclusion in that level is commonplace, but again, not necessarily at a One dance level and of course, at the discression of the coach. I personally have introduced it early on in the basic sequences where appropriate .
And, to whomever stated that the DR spin had been placed in Silver level .. by which Soc. ?.. you said Major... I belong 2 of them and its not been changed in them ( unless I wasnt notified )