West Coast Swing – Intensive Study and Theory by Skippy Blair

skippyBliar 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