. . : watching myself : :

Watching myself dance on the video they made for me has got to be one of the scariest moments of the competition. The only reason for this is that I know what I should be doing but am unable to perform it with my body. Seeing myself not doing everything I know I should be is a terrible feeling. Of course, the only solution is practice, which I haven't been doing as much as I should. In order to prepare for Vegas again in December, I've made the following resolution:

I must practice during the school week every single day after 2:15 just like any other athlete would do. This means going in to see Ms. Cory and allotting time for practice in the dance hall. About 1 hour every day I do not have dance should do.

Even though the video is, for me, scary and embarrassing, it provides a lot of insight into what I forget most. Some blunders were unavoidable, but I must remember these next time:

The Waltz:
* Never, ever lift the feet off the ground! I should be sliding and gliding along - not stepping.
* A strong connection must always be present, meaning that the left hand should be pressing away his shoulder, and the back should be firmly against his right hand. The head should also look away to the left as if it's opposing his.
* A pleasant expression must always be worn! That means smiling nicely, of course. This is so important, I'm ashamed I sometimes forget this... As Yolanda says, I am dancing with the hottest man out there! I should be happy about that!
* The left hand needs to look energetic and should be "pinching" his right bicep. I'm not supposed to really pinch it, but the thumb and middle finger should appear like they are.

The Rumba:
* This may have been because I was a little nervous having been contested for the first time at the Nevada Star Ball, but nevertheless my posture was horrible. I need to be confident in what I dance and I need to lift my sternum and press down my shoulders.
* I think I need to also be more fluid with my shoulders and upper body and include their movement in my dancing.
* I also can't neglect arm styling. With the arms, it's all or nothing. Literally. The arm needs to be plainly to the side, with the hand styled, or performing the complete movements.
* Overall, my rumba lacks attitude. Gott attitude? I sure don't. Heeheehee~ But this will come in time along with confidence. I'm just so bad at looking sultry...
* Also, the 1 and 3 beats should be lengthened so that the dance looks truly like a rumba. However, this is not necessary at the Newcomer's level.

The Cha Cha:
* The cha cha is a fast, sharp, energetic dance, and therefore the arm styling needs to be the same way. I just need to work on the arm extensions on the triple lock steps and the New Yorkers.
* The lock and chasse steps just need to be performed correctly; however, only practice will help this.
* As in the rumba, and probably due to the steep competition, my posture was horrible. Don't forget to think and look confident!

The Tango:
* In the tango, it is so important to bend those knees and feel like the hips are low and centered.
* I forgot the staccato-ness of the tango, especially in the feet. My whippings of the head were alright I suppose. ^_^
* I also feel like my head lacked the opposing appearance that should have been there. My head looked sort of dead and it looked like I was staring.
* The hips should be locked into his, and the body is located more to his right than in the waltz. Connection was lacking but never should be!

. . : vegas, baby : :

Alas, I probably didn't perform as well as I should have at the Nevada Star Ball... After nearly colliding with a couple in the tango, I lost my footwork (although not my composure!) and it took a while to remember exactly where I was and what I was doing. Unfortunately, the only way to prepare for that it to have competitive experience, so I suppose there was nothing I could do about that. In the Latin dances, Tash and I were up against a confident little lady who had her styling and flare nearly perfected. Unfortunately, again, we didn't stand a chance, having practiced only technique and very little styling. Despite poor dancing, there were many fond memories...

Talking and happily joking about our beloved PG and then seeing him walk into the restaurant, realizing he could have just listened to the whole conversation while waiting in line for his seat... Being kicked out of a Venetian restaurant because we didn't spend enough money... PG incognito... PG, I can hardly recognize you! That's the point... Cherry pie for breakfast -- twice... Everybody's been calling me 'Powderpuff' when they see my hair... Girl's day out at Caesar's Forum shops...

. . : cucarachas : :

Now put your arms in the air. Now wave them around and say, 'Teletubbies!!!'

A cucaracha is three steps that end in first position or with the feet together. They essentially don't move your position greatly and are not a movement step. They can be danced in any Latin dance, but PG has taught them to Tash and me in the rumba.

Here's the break down of a cucaracha:

2
Feet: Begin count 2 in a natural first position, with the right foot beveled. Roll the foot's pressure on the floor around in a circle, from the inside of the foot to the outside and back to neutral.
Knees: While rolling the pressure of the ball of the foot, bend the right knee slightly; the left leg is still straight.
Hips: This foot action will cause the right hip to also move in a half a figure-eight, with the hip rolling clockwise to the right.
Body: The abdomen contracts, but only slightly so as to not distort the shoulders.
Shoulders: There is slight movement in the shoulders. Engage the right lat. muscle while moving the right foot.
Arms: Because the right lat. muscle is engaged, the right elbow will bend and be brought down. Think of it as shortening the distance between the elbow and the hip on the right side.
Head: There is no head movement on this count.
3
Feet: Same as count 2 but this time with the left foot.
Knees: The left knee bends as the right leg remains straight.
Hips: Because the left foot is working this count, the left hip completes the figure-eight that the right hip started by circling to the left in a counterclockwise position.
Body: The body contracts here again, but not so much that the shoulders are distorted. This is a contraction with the lower abs (below the bellybutton).
Shoulders: Engage the left lat. muscle.
Arms: Because the left shoulder is engaged, the left elbow bends, countering the movement on count 2.
Head: No head movement.
4~1
Feet: The right foot extends to the side, with the foot still beveled, and with the heel of the shoe on the ground. Roll pressure from the inside of the right foot, to the center. At the end of the count, the left foot will now be left extended, and it should be turned out more than usual.
Knees: The left knee is kept fairly straight, but the right knee is bent. As weight is transferred over to the right foot, the right leg straightens.
Hips: The right hip repeats the hip action of count 2, starting another figure-eight.
Body: The abdomen contracts again, but only slightly.
Shoulders: When the right foot extends, the right shoulder extends that direction as well. This right shoulder leads the body.
Arms: Same as count 2, because the hip action is the same.
Head: Because there is a movement to the side, the head can look in that direction during this count.

Phew, I think that's everything I can remember from the time when Mary filled in for PG's Latin Technique class. All she did was go over cucarachas in detail. Cucarachas are also a part of the cha cha, but I think they are a cha cha's side chasse.

. . : ballroom exercises : :

. . : lock step technique : :

Woowoo! One month anniversary!!

I just wanna outline and write down all the technique of the last two lessons. PG threw so much at us... but it's been awesome learning the cha cha! To be honest, I think I like it more than the rumba. The rumba's cool and all, but I like being energetic, not sultry. ^_-

Lock Step Back
2 I'm standing on my right foot with forward posture. Posture for the entire cha cha is always more forward than a normal stance because I'm constantly on the ball of my foot. Even though most of my weight is on the supporting right leg, the left foot is placed forward and absorbs the pressure slightly.
3 Weight is still on the right foot. The movement is that the pressure is taken completely off the left foot, moving the left hip up into its socket to do so. The left leg will no longer be completely straight as contact with the floor rolls from the outside of the foot to the ball of the foot.
4 Bring the ball of the left foot back into a backwards walk. The ball of my left foot should come in towards and brush my right ankle. Instead of taking a normal back step, however, the upper body will not move its position. So the count is ended with the left ball on the floor and the pelvis tilted back.
and On this count, the left leg remains where it is as the right leg quickly bends and slides in slightly. The right hip will be forced downwards in order to maintain correct footwork.
uh Compress both knees together so that they are touching without moving the feet. Roll the hips on this move. To correctly roll the hips, shift pressure about the ball of the foot; this will force the hips to move in a circular motion.
1 The weight is shifted mainly onto the left leg with the right leg left extended, the result of a backwards walking action. However, the right hip is pulled up more than normal, which will cross the legs and complete the hip action for the lock back.

Lock Step Forward
2 Initially, I'm standing on my left foot having just completed the lock back. The right toe is in contact with the floor. Shift contact to the ball of the foot and slightly bend the knee. Brush the right foot by the left ankle into a backwards walk. I need to make sure that the right foot stays relatively parallel. This right foot, now back, splits the weight with the front foot.
3 This step merely shifts the weight back onto the left leg. Only the toe of the right leg should be left in contact with the floor.
4 In a forward walking action, bring the right leg straight forward and have it absorb most of the weight.
and Compress and slightly bend the right supporting knee. At the same time slide the left leg in towards the right, so that now both knees are touching. It is important that both my ankles are still far apart though. Roll the hips throughout this motion.
uh With the feet remaining where they are, straighten the left leg, which in turn forces the right knee to bend. This count is so short that it is not visible while dancing. However, it is an important intermediate motion.
1 Shift the weight back onto the right leg, absorbing almost all the weight.

. . : san diego memories : :

It's the Monday after my first competition and, wow, am I tired! Those three days at San Diego Dancesport were definitely the highlight of the entire year -- maybe my entire life?? I loved it so much! There is no where else where I would rather be. And the memories and the good times were endless (except when PG was being Mr. Grumpy)...

Taking little Matthew around running... PG insisting I wink at the judges to get a good score... You changed my score, right? ::huge grin::... Tashi trying to remember the can-can scene in Mulan instead of Moulin Rouge... One judge hugging Tashi lest she act shy... Realizing that the beatuiful watercolor drawing Stephanie thought I drew was really an anonymous painting of myself... The most embarrassing moment of turning around in the dressing room and meeting PG face to face with only his underwear on... Making up hand signals while running scorecards... PG, do you know what time it is? NO.... Trying to alert Tash to PG's whereabouts using the "o'clock system" and utterly confusing her... Totally improvising on dancing the mambo with Mr. Goss... PG scaring the living daylights out of me with his quick movement in my direction... You're so fragile!! I'm going to toughen you up...

. . : awards : :

I've compiled the various dance awards I've won so that college applications will be just that much easier:

14th Annual Showcase 2004 Student Dance Award
Newcomer Bronze Rumba - 1st
Intermediate Bronze Rumba - 1st
Newcomer Bronze Waltz - 1st
Intermediate Bronze Waltz - 1st
San Diego Dancesport Student Award
Newcomer Bronze Rumba - 1st
Newcomer Bronze Waltz - 1st
Nevada Star Ball Student Award
Newcomer Bronze Rumba - 2nd
Bronze I Waltz - 1st
Bronze I Cha Cha - 2nd
Newcomer Tango - 1st

. . : waltz - detailed technique : :

Today's lesson was awesome! PG said I'm improving in both dances and that he can tell I've been practicing! XD Yayyy~

There you go! Just follow your intuition ...except on that hockey stick.

I like it when you are confused. ::commence evil laugh::

In the waltz, we did more shoulder leads and how to shape the body. It's hard to explain in words but I'll try... But first, more posture: when starting and when in the "compressed" knee position, I'm not supposed to really bend my knees per se. Compress the knees by bringing them together and bending them slightly forward without sticking the butt out at all. The effect will be that I don't really change my height drastically. I don't need to be any shorter hehe...

For 1 2 3 of the natural turn, take a step backwards. Rotate the body and point the foot to the side. Then bring the feet together on 3. Remember the heel lead on 4 of the natural turn. As technique improves, the difference between steps 1 2 3 and steps 4 5 6 will become more clear and apparent. They are not a repetition of a half a turn. As for shaping the body, the torso should never remain straight-on to PG as that would get boring. One shoulder is always "leading" the body, creating a sort of swinging action with the torso. For the change step, the right shoulder is leading backwards. Then switch so that the left shoulder leads on the unnatural turn.

Now for the whisk. When entering into promenade position, lengthen the left side of the body, so that I don't travel backwards. Settle down - not back - into count 3 of the whisk. Remember, head rotates on count 2. Heel lead on count 1 out of the whisk.

On the spin turns, again lengthen the left side of the body, to maintain balance.

For competitions, because the waltz is a moving dance, it's possible that couples will run into each other on the dance floor. I have to be prepared for PG to alter the routine and accomodate for the other couples on the floor. However, this is just simple leading and following and responding to his body movements and hesitations.

. . : the things guys won't tell you : :

Wow. So I went shopping with Tashtash today to get her sister some shoes. That trip turned into the most enlightening ballroom experience of my life. There is so much PG wasn't telling us about competing!! Here are the subjects he neglected to touch upon...

Shoes --

Whether International Standard or Latin, shoes are tan, tan, TAN! I sorta noticed that at comps everyone wore tan shoes... but maybe it was just a fad? Apparently it's an unwritten law. The idea is that my feet will blend in with the floor and my legs. As for Standard shoes, they must be courtshoes. This means they are like your typical pumps, with a 2-3" heel and satin covering. Some Standard shoes either expose a nail or will over time, so it's mandatory to wear plastic heel protectors with them. They will protect both the beautiful floor and save my heels. However, some companies, like the Italian Dance Natural, won't ever need them. ^_^ Standard shoes must also be very, very snug so that they don't slip off when I dance! Plastic bands are commonly worn around the arch of the foot so that they stay on for sure. As for Latin shoes, they must be strappy sandle-like shoes. Heels should be around 3" tall, but never much more than that. There are many things to worry about when getting this type of shoe... Avoid a lot of straps without mesh in between because baby toes tend to get pinched or to stick out. The shoe must not have an open heel (an open heel is for more advanced dancers). The strap must attach to the heel cup for support. Lastly, Celebrity is a good shoe company for International Latin since they can make any style of shoe I want.



Hosiery --

One word: fishnets. And they should be a little darker than my skin color, so I don't look extremely pale. Apparently, tan is in. =( But I'll never ever tan or even get a fake one so the judges will just have to live with my pale skin.

Hair --

For competitions, a simple bun just doesn't cut it! I should go all out~ A more fancy and beautiful hair style is a plus; the lady at the shoe store even suggested a french twist. It would appear some people might get their hair done, but I'll have to just curl it or what not myself.

Makeup --

Same as hair: go all out. Think stage makeup to the max! Heavy eyeliner (remember to line the rims), bright lipstick and rouge (so I don't look pale), colorful eyeshadow. Even add gaudy accessories to brighten up the outfit!!

Clothes --

Eventually, probably by the end of the summer, I should have two separate dresses for the two different styles. Basically, I just need to imitate what I see on the dance floor. However, it's not appropriate for a newcomer to be wearing those showy Latin dresses. But the Standard dress should be flowy and go down to the ankles. For Latin, think Charlotte Russe. For Standard, I could easily sew up a few things!!

Oh PG... there's so much you didn't tell us...