Hello,
My instructor and I are working on a showcase. It's a waltz, and so far, so good. It's mostly syllabus at my insistance, but she has talked me in to allowing some choreography. We are using 3 measures of the song for a run-a-round where I will be moving on the outside, as she strikes a pose pivoting in the middle. I was told to just run around her and let go of the timing until the end of the last measure where we will come out into a picture line for an oversway. For me, the concept of not moving to the music's beat during this movement seems rather odd. Is this typical for a run-a-round? I can do it, but . . .?
Thanks in advance,

If you simply take steps without attention to the music then you may very well come out of the "run-around" on the wrong foot.

Your teacher should be able to teach you how to do this figure in time to the music. It's really not that hard.

How long have you been dancing?

jj

No it isn't typical. It's going to look sloppy if you don't get the footwork on beat and you will be ending up not ever finishing the exact same way 2 times in a row. Have her count it out with you and if she isn't having you do it because she doesn't know how find someone else in your studio who can. You will likely take three steps for every beat...just guessing because I don't know your music or your choreography. It may seem like a small thing now but it will screw you up when you perform.

It's not as easy as it sounds, because you have to exit the step on the right beat of music, on the proper foot, and in the proper direction. You will never get that if you just let go of the timing. Try two steps per beat. Think 1&2&3&1&2&3 etc, as you are moving. It will take some practice to make those steps the right size such that you exit in the right position.

SmoothGeezer,

I was actually taking my steps as you outlined, and that's what started it. Considering the song is about 28 BPM that seemed to work just right, and I can come out where I need to be for alignement.
I thank you all for your imput. It will work out. I may have to compromise just a bit but that's OK.
Don't tell, but I'll still be keeping time. :)

Thank you, JJ and Bell,

JJ, though I have been dancing for 7 years, I have only really began to learn and blossom over the last 2. I have learned more in the last 2 years than I ever did in the previous years. I made a conscious decision to avoid the studio's methodology: The kind which is discussed regularly on this site as being self-serving to the studio. I am glad I did, because I should have progressed much faster years ago. OK, off that soap box. It angers me.
I can do the run-around to the music's timing, no problem. Regular timing, syncopated or faster, but he notion, of not paying attention to the timing at all to the timing for 2 measures sounded odd to me. And that's being nice.
Belle, we're using Away in the Manger by Faith Hill. I will try your suggestion to see if it works and goes unnoticed. My teacher is quite good, and I am lucky to have her
(particularly for where I live), but sometimes . . ..

Thank you!

Do you not feel comfortable discussing this matter with your instructor?

jj

Yes, but I have to approach such things gingerly to some extent. Not always, but at times. I perceive insecurities in her, and my queries (challenges) can be taken as personal affronts of her knowledge at times. Shes fairly open minded, but, I still try to debate technical matters judiciously. I m older than her, and I work in a profession where I have discussions most people would never want to have with individuals many people would prefer dead, so talking isnt an issue for me, but after the end of my work days, I try not to be too direct.
Some dance teachers are never wrong, but my teacher isnt like that. Shes a good person, and she has helped me to improve. Im grateful. Im just a bit testy I guess. Oh, and I am paying for the lessons. (Somebody slap me.)

Touche!

Actually, dancing runarounds without a specific foot rhythm is extremely common amongst advanced dancers. It is a sort of emulation of ice skaters' spins, whereby the dancers turn so quickly, one is only aware of the overall picture of bodies spinning around each other, and footfalls become irrelevant.

If you watch a ceiling fan start up gradually toward full speed, there's a point at which you are no longer able to track the individual blades with your eyes; All you see is a blur. This is the idea conceptually behind a runaround. Obviously we can't actually spin fast enough to become a true blur to the human eye, but a good runaround does give the impression of a "whirlwind" of bodies.

In short, your teacher is not misleading you.

Regards,
Jonathan Atkinson
www.ballroomdancers.com