February 20, 2006
Joe Davids was back – this time with Russell and without Dawn. I’m finding his instructions quite useful. It’s great that he teaches 2-3 different variations of the routine. While in the class and with “doctored” followers, the most difficult versions are often doable. However, I find that in social dance situations, I have to use the simplest version or simplify things even more than the simplest version taught in order to lead the move and stay in time to the music. Perhaps in time, I will be able to lead more difficult versions when I become more comfortable with the simplest possible versions. Also, I was surprised to see that ALL of the material taught in the improver class was new to me – or at least I don’t recall seeing this material before in any of my previous 200+ classes. Amazing. I wonder if this sort of thing will happen again if I were to learn with yet another new teacher.
Intermediate routine - Latin Collective (Joe Davids)
(Joe’s preference would be that his classes are technique based not routine based, but I’m going to keep to my format)
1,2,3,5,6,7 basic
1,2,3,5,6,7 cross body lead
1,2,3,5,6,7 prepare and lead stationary double clockwise turn for follower with L-R coming down (straight) after the first turn so that it ends up wrapping follower with L-R connection positioned behind follower’s R waist – leader turns full clockwise on 7 (not a hook turn, R foot slightly back on 5, L foot in place on 6, turn around on 7/8 squeezing (I don’t recall the exact wording of the instruction) feet together – in any case, I don’t think I’m comfortable enough with this routine to try this additional leader’s turn without mucking up the next part)
1,2,3,5,6,7 open break and bring follower forward (leader takes small steps backwards on 1,2,3,5,6,7 while follower is turned around 1/4 counterclockwise by 3) and bring follower further forward for what ends up being 1 1/2 free traveling counterclockwise turn (2 1/2 is possible too) with hands going down to indicate number of rotations being asked for and to mark final position (leader’s footwork is R foot pointing towards the line on 5, step into the path through which follower passed with L foot (forward and to L) on 6 and turn 1/4 clockwise to face follower – I found this surprisingly tricky. For me an easier option was to stay essentially where I was and then to lead a cross body lead next)
1,2,3,5,6,7,1,2,3,5,6,7 simple shine (Suzy Q) - how to spot follower finishing a shine - cross body lead using R hand on follower’s back and offering L hand but giving an option to the follower for taking up the offered hand (there was a bit about forward (along the follower’s line rather than into it) body posture on 3 used for several different reasons)
Short interesting shine snippets
1 L foot tap
2 L foot forward and start to turn around clockwise
3 R foot together for a tap
4 R foot forward (now facing backwards as turning around 1/2 is completed)
5 L foot together for a tap
6 L foot forward and start to turn around clockwise
7 R foot together for a tap
8 R foot forward (now facing forward again as turning around 1/2 is completed)1,2,3,5,6,7 basic
1 turn around 1/4 clockwise as L foot cross over in front of R foot
2 R foot slightly to side
3 L foot point to L (towards original forward position and start turning around)
5 complete turning around 1/2 counterclockwise as R foot cross over in front of L foot
6 L foot slightly to side
7 R foot point to R (towards original forward position and start turning around again)
a playful variation of above is as follows
1 turn around 1/4 clockwise as L foot cross over in front of R foot
2 R foot slide sideways as L foot is pointed to L on heels
3 L foot close in slightly (and transfer weight)
5 complete turning around 1/2 counterclockwise as R foot cross over in front of L foot
6 L foot slide sideways as R foot is pointed to R on heels
7 R foot close in slightly (and transfer weight)
It would appear that shines are getting increasing attention in Cambridge. There even was a question about when shines should be initiated. Possible answers included chorus and instrumental section. I imagine instrumental solo might be a possibility although in general I suppose anytime it feels right is an option too especially for people who are still trying to get into habit of using shines and become comfortable with them.
Improvers
1,2,3,5,6,7 back basic from open hold
1,2,3,5,6,7 In-and-out from open hold and into another open hold (also did into closed hold with follower learning to have their L hand over their chest to avoid getting tangled)
1,2,3,5,6,7 back basic
1,2,3,5,6,7 Copa from open hold and into another open hold
1,2,3,5,6,7 back basic
1,2,3,5,6,7 Copa from open hold and into closed hold (with follower doing a haircomb with L hand in part to avoid getting tangled again – a haircomb out of necessity – neat concept)
As I mentioned earlier, the material for improvers was new and revelatory for me. It makes sense that in-and-out and Copa could be done from open hold now that I have seen it. I should think that this version would be considered the most basic fundamental Copa and in-and-out. I simply didn’t know this before because I hadn’t seen it done this way after over 200 hours of Salsa classes; other versions of Copa started either with crossed hold, R-R hold. R-L hold with the connection behind follower’s back R waist, or L-L hold with the connection behind follower’s back R waist (also with R-R). Perhaps I did see this before, but I have no recollection of it.
Turn combo exercise level I
2 o’clock turn
broken left
half and half turn
prepare and turn full clockwise stationary on 1,2,3 and prepare and turn full counterclockwise on 5,6,7
For followers, turn combo I was done with a haircomb for 2 o’clock turn and double-flare for broken left and without the last two turns for the last measure. Nice exercise. I hadn’t practiced 2 o’clock turn or broken left since last May in Sergio’s CDC classes (I think Sergio called it 3 o’clock, not 2 o’clock). I hope to see level II and level III soon – in fact I may find that these turn combo exercises might end up being one of the most useful thing from the Latin Collective classes because spinning is a big weakness here in Cambridge except for a very small number of most experienced dancers.
I stayed until just past 11 PM for some dancing and fair bit of practicing. In many ways, I found tonight’s session very useful. I hope there will be more.
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2 comments:
Don't worry HY! The gap in your knowledge wasn't that big. You've been doing more complex copa variations for the last few weeks, so the basic technique must be there. What you've probably missed is a lesson where the basic copa and variations were explained.
That's a limitation of drop in lessons and routine based teaching. There is a risk that a few things might be missed. I've taught courses before (8 weeks long for CDC) where you could build up material and cover all bases and this works well, but not everyone can make that sort of commitment.
Another problem I have found in salsa is the lack of consistent terminology. I found this quite frustrating when I was learning - different teachers would call moves by different names. This gets even more confusing when people try a different style... I'd been doing copas and variations for two years before I even knew what one was :-)
I agree that lack of consistent terminology can be really confusing. It is difficult enough for beginners to learn new ways of moving as well as large number of dance terminologies. Even simple things such as the direction of turns is not uniform - some say clockwise and anticlockwise while others say left and right. While I'm completely used to clockwise/anticlockwise, I have to think twice when I hear left/right. Heck, I even had to make up my own terminology (e.g. open cross body lead position on 4) for my notes of the routines taught. I guess that's what we get for dancing a "street-dance" with thousands of moves and variations with new things still being invented.
I had been leading variations of Copa since May of last year - almost 9 months ago - after going to a class, which helped me to crystalize what was a mishmesh and directionless form of Salsa I was dancing and which led me to feel more comfortable leading small but a decent number of NY/LA/CBL on-1 moves to build upon.
I guess it is both surprising and not so surprising that I did not attend a class where basic Copa and basic In-and-out were taught given limitations of routine-based drop-in classes as you say. (I need to add that it is possible but unlikely that I was taught the basic Copa but that I don't remember it.) I think it's funny that I even drew a diagram for Copa here once while stating, "Copa is most often taught to new students with crossed hold with L-L on top in Cambridge."
I have long known that there are tons of things about Salsa that I don't know, but seeing basic in-and-out and basic Copa so far into learning took me by surprise. I was still reeling from it this morning as I was waking up <-- another sign that I should cut down.
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