. . : 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.