| Friday, July 3, 2009 - Day 3 | |||
|---|---|---|---|
| 8:45 - 9:35am | Ballroom A | DanceSport Endurance | Todd Borzych |
| Ballroom C | Yoga - morning warm-up | Stanley Kuo | |
| 10:00 - 10:50am | Ballroom A | Waltz - "Using head weight" | Anna Mikhed |
| Ballroom B | Viennese Waltz - "Tango legs & Waltz feet" | Victor Fung | |
| Ballroom C | Rumba - "Using weight & foot pressure" | Victor Kanevsky | |
| Ballroom D | Samba - "Creative basics" | Taliat Tarsinov | |
| 11:00 - 11:50am | Ballroom A | Waltz - "Timing: Beyond 1, 2, 3" | Victor Fung |
| Ballroom B | Quickstep - "Open choreography" (Advanced) | Taliat Tarsinov | |
| Ballroom C | Samba - "Creative open choreography" (Advanced) | Marcus Johnson | |
| Ballroom D | Cha Cha - "Locks and chasses, the finer points" | Dan Calloway | |
| 12:00 - 12:50pm | Ballroom A | "Sharing the moment together: Contact, connection, communication, relationship" | Taliat Tarsinov |
| Ballroom B | "Principles of effective competitive open choreography in standard" (Advanced) | Glenn Weiss | |
| Ballroom C | Samba - "Hot body action" | Oksana Zolotarevskaya | |
| Ballroom D | Paso Doble - "An introduction" | Dan Calloway | |
| LUNCH | Wendy Johnson | ||
| 1:00 - 1:50pm | Ballroom A | "Every man's dream (Part I): Technique of creating sway...better believe it works!" | Garry Gekhman |
| Ballroom B | LUNCH BREAK | ||
| Ballroom C | "Developing rhythm in Latin dances" | Oksana Zolotarevskaya | |
| Ballroom D | LUNCH BREAK | ||
| 2:00 - 2:50pm | Ballroom A | Tango - "Picture lines" | Anna Mikhed |
| Ballroom B | LUNCH BREAK | ||
| Ballroom C | Jive - "Energy and stamina training" | Marcus Johnson | |
| Ballroom D | LUNCH BREAK | ||
| 3:00 - 3:50pm | Ballroom A | Foxtrot - "Art of feathers and three steps" | Victor Fung |
| Ballroom B | "Artistic use of the head - taking it to the level of Champions" (Advanced) | Anna Mikhed | |
| Ballroom C | Samba - "Rolls" | Marcus Johnson | |
| Ballroom D | "Vertical axis is the first key" | Victor Kanevsky | |
| 4:00 - 4:50pm | Ballroom A | Quickstep - "How to make it slow" | Glenn Weiss |
| Ballroom B | "Tango - "Good old basic" | Garry Gekhman | |
| Ballroom C | Cha Cha - "Creating speed and dynamic" | Taliat Tarsinov | |
| Ballroom D | Rumba - "Balance and connection" (Advanced) | Wendy Johnson | |
| 4:50 - 5:15pm | COFFEE BREAK | ||
| 5:15 - 6:05pm | Ballroom A | Quickstep - "Being light on your feet" | Garry Gekhman |
| Ballroom B | Viennese Waltz - " Fleckerls: Breaking them down" | Glenn Weiss | |
| Ballroom C | Rumba - "How to fill the extra time" (Advanced) | Oksana Zolotarevskaya | |
| Ballroom D | Performance (Part III) | Wendy Johnson | |
| 6:15 - 7:05pm | Ballroom A | Foxtrot - "Good old basic" | Garry Gekhman |
| Ballroom B | Tango - "Open choreography" (Advanced) | Glenn Weiss | |
| Ballroom C | Paso Doble - "Character" | Victor Kanevsky | |
| Ballroom D | Performance (Rehearsal) | Wendy Johnson | |
| 8:00 - 11:30pm | Independence Day Ball Social. Semi-formal attire. If you are not attending the camp, you are welcome to attend the social. COST:
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I was too tired and thus slept over the dance endurance training session in the morning, and that was a total mistake because I was not warmed up for the samba class teaching moves including the samba shadow roll.
The samba creative basics taught by Taliat Tarsinov was a great class. From Day 3, most of us 6 decided to choose classes by instructors rather by the title because the title could be somehow deceiving. Taliat was one of my favorite instructors at the camp, and he was truly a maestro: he did not teach much nor analyze into details, and he only taught one or two concepts in a class and the concepts would totally transform the way you dance.
In his samba class he gave a very interesting routine constructed by few basic syllubus moves:
girl: circular volta for 1, 2, 3, 4, counterclockwise, approaching to the guy
guy: hip action L R for 1, 2, 3, 4
both:
3 whisk: in the first two whisks, parallel and face your partner(5,6,7,8) , the third whisk, guy goes beside the girl and both put their hands on each other's shoulders (1,2)
foot change(3,4), shadow roll (5,6,7,8), promenade run, finish
He explained that every step has a meaning. The circulart volta for 1,2,3,4 is saying the girl is flirting the the guy, as if telling him,"Hey, come with me!" The whisks are the guy aggressively and very masculinely chasing after the girl, and at the third whisk he finally catches up the girl. The samba roll expresses softer emotion in this chereography, less masculinity, but more romantic and harmonic between the two sexes.
The samba roll: the trick is to separate the body into the torso and the part below the waist (the hip), you have to change between the two to initiate the momentum of the roll. When the body bends forward, it is the upper body initiate the roll; when bending backward, you swing your hip hard and bend the knee to create the speed and liquidity of the rolling motion.
The footwork: I merge the concept learned from Andrew Philips class as well. Put the arms forward; when you bend forward, your arms point to the direction of 6 o'clock(to the line of dance) ; so when you bend backward, the arms are at the 12 o'clock direction(opposite to the line of dance), and your left foot should tap out with no weight on it. When the arms come to 9 o'clock direction, you transfer the weight to the left foot and then start to pivot on the left foot. Pivoting on the left foot until the arm again pointing to 12 o'clock direction (against the line of dance), you tap out your right foot to the side and split weight, and then left foot cross in front of the right foot. The lesson is, you pivot on the left and only transfer weight and cross in the very end of this semi-circular roll. Bend your body as parallel as possible to the floor.
The left foot can be eiher bent or straight, depending on the heights of the couple: if the girl is tall or about the same height as the guy, bending her knee can first ease the burden of the guy and second create more dynamics in the roll action. If the girl is short, then she can choose to do it on a straight leg.
In another Taliat's class of cha cha "creating speed", we learned a routine: 1 open right side frontcheckon the right, 2 open side hip twists, plus something linking to back lock step (lady; gentleman: forward lock step), lady one forward lock step and goes into mambo box.
The trick to create speed is to use ONE JOINT AT A TIME. For example, you only think of
knee when you do hip twist; do not be confused by the name and think of hip or try to squeeze your side of torso. Of course you have to squeeze your side torso and twist your hip, but those are the results come after a correct knee movement. "Results are very different from the fact." Taliat said. When you do the first step that goes into mambo box, what makes those pros move in a super human speed is that they use the shoulder to place their foot but not foot to place their body then their shoulder. So when you finish the front lock step and ready to place your left foot into the mambo box, while your correct position to the leader should be almost in one line, facing opposite direction, the leader's primary job is to place the girl's shoulder on the line, and the girl should let her shoulder goes forward first, and then her foot will immediately place in the correct place because of the work of gravity.
I didn't know the steps and footwork of mambo box, which was a pity. Nevertheless, it's a step of gold level; I will learn it someday.
I feel that I need to remember the correct names of the figures because that will ease the burden of communication.
I didn't stay long in the open dance at night. I simply do not enjoy sitting off stage and hoping people to ask me dance. Such self-pity or consciousness comes to me sometimes during the open dance as well; I realize, again, that I need to work on my dance; I need to learn more steps for social dance, and I need to be unaffected by the leaders' leading skill. I do not want to feel such feeling of being deserted. But is it a good thing that to work harder on dance because of being driven by such nearly awareness of humiliation? To me, dance brings me happiness and loneliness: I am happy that I can dance and communicate with others in a new language free from, but often I feel I am not talented enough to achieve anything in this field. And the pressure of partner search makes me bitter quite often.
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