West Coast Swing

This West Coast Swing group class will provide a comprehensive review of core technique to improve your West Coast Swing as well as introduce several new patterns.  

This class is intended for the intermediate dancer  

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4 Week Course

Group Lesssons on

August 3rd, 10th, 17th and 24th
7:00 – 8:00 pm 

by David Carter
SteppinOut Ballroom Dance Studio

Click Here for map and directions  

$10.00 per class per person  

RSVP is required for this event to ensure attendees receive up to date class information.

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This West Coast Swing group class will provide a comprehensive follow up into the basic techniques of West Coast Swing building on the techniques and patterns from the May classes.   

West Coast Swing

This class is intended for the beginning dancer (who has completed the Level I introductory classes in May) or someone who dances West Coast Swing and would like to improve technique and timing.  

The objective of this class is to follow up the May class with further techniques and continue adding more foundation patterns.   

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Group Lesssons on June 12, 19, 26 2010
11:00 am to noon.

by David Carter
SteppinOut Ballroom Dance Studio

Click Here for map and directions   

$10.00 per class per person   

RSVP is required for this event to ensure attendees receive up to date class information.   

________________________   

Class Synopsis:

Week 1:

• Review of Basic pattern and timing from Foundation Level I class
• Turning Basic
• Slingshot Rollout
• Rotational Starter Step

Week 2

• Slingshot Throwout
• Tuck with Free Spin
• 2-Hand Contra-Body Tuck

Week 3  

• Lock Whip
• Release Whip
• Closed Whip

Gary Jobst and Csilla Madocsai

Champion West Coast Swing instructors Gary Jobst and Csilla Madocsai will be teaching three workshops on May 22nd at Bogies Nightclub from 1-5pm on May 22nd.

Click here for full details

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How we apply our lead can have great influence on our partner’s balance.  The proper application of Tangential Momentum in your lead will increase your partner communication and help her maintain balance.

I recently traveled to Dallas on business and while there, I was able to schedule a lesson with Beata (like the car Miata with a B) Howe.    She is a three time US Open Swing Champion and an excellent teacher. Click Here for more information on her website.

Anytime I travel, I look for a West Coast Swing instructor that is considered the best in the area.   Each time I do this, I come away humbled by how much I don’t know about this dance.  This trip was no exception.

We reviewed many things, including fine tuning connection and hand hold as well as frame.   What is great about each lesson is the gold nugget I always come away with.  In this case there were several, but tangential momentum really stood above the rest.

Tangential Momentum is the application of force across the plane of motion.

A great example of this is spinning a basketball on your finger.   When the ball is spinning, force must be consistently applied to keep it going.  If you apply this force incorrectly, then you lose control of the ball, but if you apply force on the tangent or parallel to the spin, then the ball keeps going and you do not effect the balance.

In West Coast Swing, this means that we should always apply force parallel to the slot.

In the context of our lead and follow, we are talking about energy transfer,  creating leverage and compression, not hauling someone around on the dance floor so keep in mind that force is simply a word to represent the application of energy such as in a tuck turn.  We would apply force/compression to transfer the followers forward energy to backward and turning energy to create the tuck and turn.

Now, let’s get back to the subject.   A good example and where she got me was on left side passes with outside turns.   It is a common tendency to start the outside turn by applying force out and around your partner in an attempt to drive the turn all the way around.   What should happen though is quite different and has a surprising affect.    As you lead the pass, rather than applying force across the slot, pushing outside and throwing your partner off balance, apply the force in the parallel or tangent to the slot.  This means you are actually driving toward her right side in the direction she is coming from, opposite her direction of travel.   No, you won’t stop her since you are not in her line of travel, she will continue forward but the reverse force will cause her to spin to the outside.  This will all happen with no negative result on her balance.

So to apply force in turns, we should consistently pull inside turns and drive outside turns.   Again, pull and drive are not meant to describe lead, but to indicate direction of lead and how to lead it. If this is confusing, then talk to me or find someone to show you what this feels like.    One more time… Don’t push or pull your partner!!!!

One thing to note here.  When applying force it is not so much forcing back down the slot as it is just enough to stop that side of her body, effectively applying breaks to only one side.    Did you ever ride a Big Wheel as a kid?  Am I dating myself here?  Well, if you have, you know what happens when you stop one wheel.   It will spin and so will she.

Since my lesson with Beata, I have paid close attention to this and have found it to be an absolute rule one hundred percent of the time.

So,  give it a try.  Did it work for you?

The more I learn about West Coast Swing, the more I find there is to learn.  If you want to see how deep the rabbit hole really goes, then read on.  The links below are to various writings by Skippy Blair.

Who is Skippy Blair – Click Here?

Although quite technical at times, the information in these articles is some of the most extensive information you will find.  You may not have heard of Skippy, but the people you have heard of in the West Coast Swing community consider her the teacher’s teacher.

She is the creator of the Universal Unit system of annotation and has developed concepts such as Rolling Count, Centering Knob, 3-Toe base and Plusing which are fundamental to West Coast Swing today.

ANCHORS in West Coast Swing
Because of recent Intensives, discussions with judges, contestants, and even potential judges, we have netted new insights into the art of “anchoring.

Centering
Centering – The US OPEN, year after year, is a huge success and yet many performances could be improved – simply by using the rules of “Partner” Centering. In studying the “Psychology of Learning” – I was fascinated with how “Rules of learning” carried over into the dance. We learn MUCH faster if we have one definition for one word.  Study also confirmed my belief that simplicity is the key to fundamental learning.

Coordination Testing
Coordination testing has proven to us, that there are specific techniques that can raise our physical and mental performance level.  Any dancer working toward a higher skill level, can continually raise their level of performance, by drilling the Rhythms and Movement techniques that produce the dance skills listed below

Critical Timing
Critical timing and the “2-Beat” Rhythms: I do believe in “Staying within the Rules” – but there are times when I momentarily find exceptions to those rules. I say “momentarily” because when I stop – step back – and take a second look – I find that the rule was correct. So far, each experience has proven that RULES are more important than any momentary “shortcut”. Many times we only think we are breaking a rule – when we are simply not fully understanding the depth of the rule. I marvel at how rules unfold gradually, revealing their secrets to us, one at a time.

Downbeats and Upbeats
Downbeats occur on counts 1, 3, 5, and 7 of an 8-Beat Mini-phrase. Upbeats occur on counts 2, 4, 6, and 8 of an 8-Beat Mini-phrase. The Downbeat comes first, followed by the Upbeat. So what is missing when someone asks: ‘”How do I tell a Downbeat from an Upbeat?”

Pulsing: Heartbeat of the Dance
There are two different concepts that are often mistaken for each other. Pulsing is an underlying basic rhythmic movement of the CPB, within the framework of the body. It is a subtle, but “constant” heartbeat of the dance that takes place even if there is no music playing. Musical Interpretation is the added spice that connects the body to a variety of interesting, often syncopated, sounds in the music. They are two entirely different aspects of a performance.

Relationships
Lead her GENTLY and she’ll follow you anywhere. 2. Never CRITICIZE a Partner. The only person you can FIX is YOU. (The person responsible for making an ADJUSTMENT, is the one who knows an adjustment needs to be made.)….

Rolling Count
In “Classic” West Coast Swing, “Critical Timing” and Rolling Count create the MAGIC that separates the Amateur from the Professional. It is this MAGIC that thrills an audience and excites a Performer. Many performers are unaware of what creates their own magic. Those who aspire to make a little magic of their own – are delighted to hear that this “magic” can be learned.

Single Tracking
Start with picturing one single line on the floor in front of you. Your body – (actually, your Center Point of Balance) – wants to glide down that straight line. The Sending Foot propels the body forward, along that straight line. In order for the center to travel in a straight line, the shoulders move slightly back, alternating left and right, in order to accommodate the forward movement of the center. (Contra-Body)

3-Toe Base
“Toe Base” itself has already become a common term, relating to the area starting where the base of the toes connect to the rest of the foot and ending at the front end of the bottom of the toes. Confining that toe base to the Big Toe – and the two toes NEXT to the big toe – has made a dramatic impact on quite a few dancers. Dancing a “check” in any direction – using a “3-Toe Base” simply means that the ball of the foot is not touching the floor and the little toe is “at rest” during this action. This “3-Toe Base” produces a stronger “change of direction” in any “check” move – and also produces a stronger body connection to the floor.

Walk Like a Dancer
A Dancer moves through space by the carefully studied use of body control. The “Center Point of Balance” (Solar Plexus) moves upward as the toes press DOWN into the floor. Learning to Dance is much more rewarding when the secret of controlling the “Center Point of Balance” (CPB) has been mastered

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This West Coast Swing group class will provide a comprehensive introduction into the basic techniques of West Coast Swing.

West Coast Swing

This class is intended for the beginning dancer or someone who dances West Coast Swing but has difficulty maintaining rhythm and timing during social dances.  I will be introducing some simple techniques for learning the basics or improving your understanding of basic timing and rhythm.

The objective of this class is to get you dancing West Coast Swing on your first lesson while understanding the basics of the unique timing of the dance.

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Group Lesssons on May 8, 15, 22   2010
11:00 am to noon.

by David Carter
SteppinOut Ballroom Dance Studio

Click Here for map and directions

$10.00 per class per person

RSVP is not required for this event, but does assist in event planning.

________________________

Class Synopsis:

Week 1:

• 8 count starter step
• Timing
• Connection open position (introduction only)
• Lead and Follow
• Left Side Pass

Week 2

• Connection
• Compression and Extension
• Balance and Posture
• Right Side Pass and Under Arm Turns

Week 3

• Release Whip
• Whip with Inside Turn
• Whip with Outside Turn
• Frame and connection closed position
• Push Break (previously called Sugar Push)

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Argentine Tango

Argentine Tango and West Coast Swing have, over the last couple of years become my two favorite dances. On the surface they appear very different.

The dance styles are very unique.  Tango has its origins in the brothels and bars of Argentina and is an intimate dance, sometimes slow and sultry, sometimes fast and dramatic.

WCS is a lively,fun, even sexy dance that can be danced to a number of different styles of music.

West Coast Swing

If you were to watch the two side by side, you might say they couldn’t be more different. The truth is, they have more in common with each other than they do with most ballroom, latin or swing dances.

I will explain with a few things they have in common

Connection

Yes, connection is a must in any partner dance but for these two it is much more than just frame, arms and shoulders.  They both require a connection to your partner and the lead and follow queues are subtle and not predefined by a specific pattern.

Connection to the music is just a critical.  Both styles are very interpretive and rely on the music to define the steps.

Interpretation & Musicality

Many may disagree, but for me a waltz is a waltz is a waltz. Don’t get me wrong, I love the waltz, it’s just a fact that it will be predominantly the same waltz to Journey’s Open Arms as it is to Foolish by Johnny Mathis.

Now, a good Argentine Tango can be a completely different dance depending on the dancer’s ability to interpret the music and make the dance fit the feeling of the song. Each step is determined by the leader’s, and to some degree, the follower’s interpretation of the music.

West Coast Swing is also about interpretation of the music.   Both leader and follower have many opportunities to embellish and emphasize aspects of the music.    This could be creating breaks and pauses in the dance during breaks in the music or possibly extending steps to coincide with the singer drawing out  a word.   Musicality is only limited by the imagination.

Improvisation and patterns

Most of the time, I won’t say all the time, other dances are simply a group of steps and patterns put together in a series for the dancer to implement on the dance floor.  Usually, the pattern is not a reflection of the music, but just a long amalgamation of steps.

Yes,  West Coast Swing and Argentine Tango are often taught as patterns or choreographed routine segments.  Go to any group class for either (or any dance style) and you will probably learn a group of three or four patterns during an hour class all put together nicely for you to use the next time you get on the dance floor.   There is absolutely nothing wrong with this.  It facilitates the class and it’s an easy way to learn to dance several new patterns.

The real magic in Argentine Tango and WCS happens when you get to the point where you forget the amalgamated patterns and begin dancing in smaller units of steps, interpreting the music and reacting organizationally to what you hear.

When you forget the patterns and break each step down into its smallest units, they can be recombined in new and exciting ways.

In Argentine Tango, you have elements, Ochos, Sacada, Giro, etc.  These small elements can be combined in many different ways so that each time you perform an ocho, and add a different element, it becomes something new and different.   Not a pattern, but simply a new combination of complimenting elements.

I like to break it down into 2 beat units for West Coast Swing   I won’t go into too much detail on this but will save it for a future article as it will be fairly extensive. I will give an example of a standard whip.   The whip can be broken down into three parts,  1-2, 3&4, 5&6.   If we apply a 2 beat unit to the basic whip,  we can replace 5&6 with and inside turn or an outside turn (5&6 changes to 5-6 and adding 7&8).   These whips are often taught as pattern but they are really nothing more than a combination of two elements (whip and inside turn for example).   Once you see how this works, you will begin to see how elements can be added or recombined to create something new and exciting.

Following

The next obvious question is this.  As a follower, how do I follow if I don’t know the pattern?

Following is an art form that does take time to learn.  It involves good connection and listening (with your body not your ears).

In Argentine Tango, from the beginning you are taught to embrace properly, listen, connect and follow.  Learn to hear the subtle queues from the leader indicating direction, posture and timing.  Do this without anticipating or moving without a lead.

In West Coast Swing, you could say pretty much the same thing.  WCS connection is critical to your ability to follow as the majority of the time, you only connected by one hand.   Paying special attention to the breaks and direction changes indicated by the leader is key to West Coast Swing.

Both require extra attention from the follower to understand the leader’s intentions without anticipating.   Of course all dances require following skills, but the free and unstructured nature of these two dances requires even more.

No Strict Time

Now I step onto shaky ground, but here goes.   You don’t have to step on every beat.   There, I said it.

Argentine Tango allows you dance your interpretation of the music so you can pause and skip one or several beats allowing your partner or yourself time for adornments or just for dramatic or subtle effect.    You may wish to slow down to every other beat for a segment or speed up and syncopate beats.    This is not waltz where timing is almost always the same.  Sorry, I seem to be picking on waltz in this article.  You have freedom to play with the timing as long as it fits the music.

West Coast Swing is very similar in that you can modify your timing, by skipping beats, syncopating steps or moving one syncopated step to a different timing (instead of 1 2 3&4 you might dance 1 2 &3 4).   Critical to these timing changes is being able to locate the 1 or down beat when resuming a more standard timing.

Unique and Similar

Even though both dances are very different in style, you just might agree with me that they are much more closely related than they appear to be.

What about you?  Do you see any other similarities between these two dance styles?  Maybe you disagree?  What do you think?

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Desert City Swing 2008 – Ben & Patty – Strictly Swing

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Reno 2007 – Champions Jack & Jill – Kyle Redd and Patty Vo

This is an amazing video.  Kyle Redd is another favorite of mine.

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Robert Royston & Melissa Rutz West Coast Swing Grand Nationals 2009

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