Teach you the ten key points of how to dance ballroom dance well?
Standard grip, posture, movement method and direction of dance line
Standard Holding is an important means to form an integral structure for both parties in the dance. It plays a decisive role in dance that cannot be ignored. It is not only related to the beauty of the shape, but also affects a series of issues such as the transmission of information, the stability of the center of gravity, the correctness and uniformity of force methods, and the use of special techniques. Therefore, it must not be taken lightly.
The ideal standard hold should produce such an effect-the two parties of the dance are integrated into one. Foreign teachers have used such an image to express this sense of wholeness - "one body, two heads and four legs." This kind of Western humor can indeed stimulate our inspiration and enable us to grasp the core of the problem more accurately.
In modern dance, the standard hold is the same for all dance types except tango. The key points are as follows:
The feet should be parallel and close together, and must not be opened in an "eight" shape; the right toe should be aimed between the feet of the dance partner; the center of gravity should be concentrated on the ball of the front foot ① but the heel cannot be lifted.
Hand, with the palm of the male partner’s right hand facing inward, support the lower edge of the female partner’s left shoulder bone; form a straight line from the tip of the elbow to the fingertips, hanging down naturally in a diagonal shape, with the five fingers together. Don't raise your wrists, let alone use the back of your hands to control the dance; your arms should be basically flat and spread out in an oval shape. Figure 1 shows the correct hand posture. The female partner's left hand is placed lightly on the deltoid muscle of the male partner's right arm; the four fingers are brought together and positioned with the tiger's mouth; the entire arm is placed lightly on the male partner's arm and cannot be separated from the contact, see Figure 2. The male left hand and the female right hand hold each other, with the base of their palms perpendicular to the ground and supporting each other, and the entire arms spread diagonally upward in an arc shape. It is like holding a parasol easily and freely, as shown in Figure 4. The height of the hand is generally at a fixed point between ear level and eyebrow level, depending on the needs of the environment. For example: in a large gymnasium it should be higher, in a small dance hall it should be lower.
Head and viewpoint, on the premise of keeping the shoulder lines of both sides parallel, their respective heads
Figure 1 Male partner’s right hand posture
Figure 2 Female partner’s left hand
Hold your hands together and turn them 45 degrees to the left, with your eyes looking straight ahead; the female partner should also make full use of the joint functions of the thoracic and cervical vertebrae, starting from the xiphoid process, and allowing the thoracic vertebrae to expand backward 15 degrees. , the cervical spine is then extended 15 degrees back into a straight and straight curve, resulting in a unique female curve. Be careful not to interpret it as lying back or stretching your abdomen.
The body starts from the diaphragm and ends at the thigh surface, forming a micro-adhesion between the two sides; on the basis of raising the center of gravity and opening up the "distance", look for the sense of "combined force" between the two sides.
The meaning of standard grip:
First, form the correct force center. All the laws of human body movement can be summarized in one sentence - reasonable use of force. The standard hold allows both parties to form a relatively fixed "frame", which fundamentally limits the occurrence of incorrect localized force dispersion and enables overall coordination with the waist as the center of gravity. Work hard and get reliable guarantee.
Second, the need for beauty. The straightness and smoothness formed by the standard hold not only fully display the curvaceous beauty of the human body lines, but also the relatively fixed "shelf" will eliminate excess strength, thereby deriving a relaxed beauty. Rodin once commented on his sculptures: I didn't actually do anything, I just removed the superfluous things. "The profound philosophy contained in this sentence is worth chewing over and over. The "excess" power in the dance is an important factor that destroys beauty, and must be removed by necessary means, and standard holding is exactly
This is one of the necessary means.
Thirdly, establishing a comprehensive information transmission network system will ensure that both parties can achieve the goal of maintaining the standard of micro-posting. Forming a comprehensive, delicate and efficient network system, this is incomparable to the inefficient mechanism that only relies on hands to transmit information in non-standard holding conditions.
There are more than a dozen detailed and strict classifications of dance steps* changes, but as long as we master the following four most basic forms, we can understand them by analogy.
C.P. (ClosedPosition)* Position, also called closed position, closed position, or basic position, the key point is that the horizontal lines of both shoulders must be kept parallel, and cannot be confused with the position by having one side wide and one side narrow.
P.P. (PromenadePosition)* position, literally translated as promenade position. Also called open position, walking position, V-shaped position, half-closed position, etc. The key point is that the right side of the male partner is close to the left side of the female partner, while the other side is relatively open, and the shoulder lines of both parties thus form a "V" shape change. The perspectives of both parties are also focused on the extension direction of the handshake.
O.P. (Outside Partner) pounces on the right outside position, called the right cross position, the right hip is in the opposite position, the right side position of the same foot, etc. The key point is that both parties move on the right outer side of the partner's body.
P.O, (PartnerOutside) left outside position, also called left cross position, left buttocks are in close alignment, left side of the same foot, etc. The key point is that both parties move on the left outside of the partner's body .
These four postures are basic postures often used in changes in dance structure and must be remembered and used skillfully. For those who specialize in ballroom dance, you should also remember the English abbreviation. for easy use.
The movement method is one of the important basic skills for dancing well in ballroom dancing. Different dance types have different special requirements for the method of movement:
First, the feet should be parallel and straight forward. The toes must point directly in front of the body, never to the side. Even if we advance simultaneously in our proud position, we must follow this basic method and principle.
Second, land in order, and there is a difference between advancement and retreat. When walking forward, the first foot should put down the heel first, and then put down the sole, sole and toes of the foot in sequence; the second foot should first lift the heel and push the ground through the sole and toes. The opposite is true for walking backwards. The first foot is placed on the toes first, and then the toes, soles and heels are put down in sequence. The second foot needs to be raised on the toes first, and then the heel is used to push the ground.
Third, the feet reach the center of gravity. The upper body must always keep moving in the vertical line of the center of gravity and the feet, and there must never be a "delayed center of gravity" state of "testing the feet".
For beginners, before entering into dance learning, it is best to use the already learned standard brain hold and its four posture relationships, and follow the above three key points to perform the eight directions of different postures walking exercises. During the practice, people will definitely feel that if their feet are not parallel, it will be easy for the opponent to step on their feet; if they do not follow the steps of the heels and toes, it will be difficult to "reach the center of gravity with the feet"; If the center of gravity is not there, pushing and pulling phenomena such as "pushing out the buttocks", "thrusting out the abdomen", and "pitching the upper body" will inevitably occur, making it difficult to maintain the standard grip. It can be seen that the correctness of the walking method is crucial.
The concept of dance line and direction is one of the theoretical foundations of standard dance. The dance line refers to the movement of the dance, which must be continuously developed in a counterclockwise direction around the center of the dance floor. In custom, the line close to the side of the rostrum is called line A, followed by line B, line C, line D, and then back to line A, and so on. Since the operation of dance inevitably involves many complex changes such as moving forward, retreating, turning left, turning right, etc., therefore, the problem of how to identify and establish direction coordinates arises. In previous teaching practices, some people used stage orientation to replace the concept of dance line orientation. It should be pointed out that this is extremely imprudent and unscientific. Because the stage orientation is based on the audience surface, it is a "site concept" that never changes; while the dance line orientation is a "movement concept". There are essential differences between the two. Failure to forcibly replace objective laws will inevitably lead to theoretical confusion and practical fallacies. Therefore it should be resolutely abolished. The coordinates of the dance line orientation concept are formed as follows: take the direction of the dance line and its opposite direction as a straight line, and then take the center direction of the dance floor and the direction of the audience as another straight line. The intersection of the two lines forms a cross-shaped seat. mark. As a result, the orientation in motion has a relatively static relationship - the left side of the dance line is always the center, and the right side is always the wall (i.e. the audience). No matter which line it runs to, this static relationship in motion will not change. In order to facilitate the calculation of the degree of rotation*, on the basis of the cross coordinates, four oblique directions were determined with an included angle of 45 degrees, and based on the general concept of the dance line being forward and reverse, they were labeled as oblique and reverse oblique boundaries. the difference. In this way, eight standard directions are formed: L.O.D, oblique center, center producing oblique center, reverse L.O.D, inverse oblique wall, wall and oblique wall. As a result, the orientation recognition becomes very clear and accurate. It should be noted that the male and female dance partners face completely opposite directions, but the direction of the dance steps is only based on the male partner.
For example, the action performed in the wall-facing position means that the female partner must face the center, and the rest will suffer. In addition, when facing a certain direction, it refers to the direction of the front of the body and the toes. It has nothing to do with the direction of movement and the direction of the face and viewpoint. This also needs to be noted.
Different requirements for male and female partners and the cultivation of awareness of leading and following dances
In modern dance, the male partner should always be in a dominant position. This is determined by the structure of ballroom dance and the laws of human kinematics. Therefore, as a beginner, you should never learn the female steps for men or the male steps for women. Because the different requirements of male and female dance partners will inevitably cause a "dynamic stereotyping" effect on the sensory system and nerve conduction system, and the development directions between men and women are exactly opposite, this issue must be paid enough attention to.
The male partner leads the dance. Leading the dance is not only a requirement that must be fulfilled, but also a technical skill. In a demanding sense, leading a dancer means leading a female partner to dance. Whether it is the choice of dance step structure, changes in movement direction, or the presentation of dance styles, the male partner must hint and guide the female partner quickly, decisively, proactively and accurately. This is a prerequisite for tacit cooperation and the decisive factor for beautiful coordination. If the male partner treats the female partner in a state of being careless, hesitant, or unresponsive, some adverse consequences will inevitably occur. A lady who has experienced this kind of ambiguity may never want to dance with you again.
The female partner dances with her. To dance is to dance with the male partner. No matter what steps to dance, what direction to move in, whether to spin or not, you must "actively obey" the guidance and hints of your male partner. You must not "go against" your male partner. Therefore, the female partner must work hard to cultivate and exercise her adaptability and resilience. She must quickly make appropriate and accurate responses to the male partner's hints and guidance, and go with the flow, very Easily adapt to the dance. You must not take the initiative to guide or change the dance steps, nor can you guess the development and changes of the dance steps based on your own subjective assumptions, nor can you try to "correct" the dance steps or dance course of the male partner. , the best female dance partner is a woman who can 'make the same mistakes' as her male partner. Therefore, the key to following dance is to "actively obey". From a delicate microscopic perspective, the female partner should be in a "standby movement" guided state that is slightly slower than the male partner, as long as the rhythm allows. Never try to "seize the right to lead the dance."
The consciousness of leading and following dance is actually a kind of advanced neural activity, which should be exercised and cultivated consciously. This not only makes the dance steps have a "joint force" effect, making them more delicate and harmonious, allowing people to enjoy beauty; it also has a subtle edifying influence on the accumulation of character consciousness of both men and women; it even has a great impact on the exercise of intelligence. benefit.
Closely related to leading and following dance is the method of information transmission. Information transmission has different levels depending on the holding method.
In a non-standard holding state, only rudimentary information transmission methods can be used. The primary method is to use both hands: the male partner relaxes his right hand and pushes forward with his left hand - which means the man is advancing and the woman is retreating; pulling both hands back at the same time - means the man is retreating and the woman is advancing; pressing back with the fingertips of the right hand and pulling back with the left hand - means moving to the left Turn around; apply force with the heel of your right hand and push forward with your left hand to turn to the right.
When in the standard holding position, that is, the position of the upper limbs is accurate but the body is slightly separated, an intermediate information transmission method can be used, that is, no longer using both hands, but making full use of the male partner's right hand The contact between the shoulder and the left arm of the female partner is used to convey the message. Since this transmission method has begun to enter the level of using the body, the push-pull movement of the male partner's left hand can develop into a relatively fixed and holistic method. The method is: on the premise that the overall position remains unchanged, push the entire upper body forward - men advance and women retreat; pull the entire upper body behind - men retreat and women advance; turn to the left as a whole - turn to the left; turn to the right as a whole Side turn - turn to the right. It can be seen that the local movements of the right hand have begun to disappear, and the force of the shoulder has begun to dominate. Intermediate information transmission methods are very flexible, and excellent dance partners can even start to use sideways and tilting techniques; while only passers-by can hardly avoid local changes in shoulder time (such as forward protrusion or hunching of the right shoulder), and Pitch changes in the upper body.
If full standard control is implemented, advanced information transmission methods can be used. Advanced information transfer is a systemic network-like transfer.
For example, in forward movements, in addition to the overall forward push of the hand at the shoulder, the contact area below the diaphragm also plays an important role. Through the contact of the thigh surface of the moving leg, the information about the amount of force and the start and end time is transmitted to unify the strides of both parties; the contact between the waist and abdomen makes the lifting range, start and end time of the movement, and the range of sideways and tilts consistent with Accurate and timely information transmission can be obtained regarding the start and end time, and even the speed, rhythm and timing of weight transfer. More importantly, this kind of transmission is no longer a one-way suggestion and guidance, but has changed into a feedback-type two-way transmission, so that both parties can test and correct their own ideas from the transmission and feedback. Mistakes, even tiny mistakes. In short, this is a very practical issue that must be experienced and gained through repeated practice.
Selection and identification of ballroom dance music and its connection with dance
Different dance types have specific normative requirements for dance music. If you don't understand this and make mistakes or mistakes in the selection of dance music, not only will you feel awkward when dancing, but you will inevitably make people laugh.
Beginners should first learn to identify the beat of music and distinguish the difference between three beats and four beats. Some people have the wrong idea that as long as they stay on target, everything else doesn't matter. This is a low-level expression of lack of musical accomplishment. Just imagine, if you dance the commonly known four-step dance to the music in three beats, and dance the three-step dance to the music in four beats, it will inevitably produce strong and weak patterns. Conflict; appearing in big steps on weak beats and small steps on strong beats; and the music image is declining while the dance steps are rising; the music image is rising while the dance steps are falling, and other such incongruities and awkwardnesses feel. The reason for this misunderstanding is that a simple step-by-step dance method is popular in the dance hall; this dance method has neither lift nor parallel steps, commonly known as two-step dance (this dance method is actually a step of blues Jumping method - only regular steps without parallel steps). Therefore, on the surface, it seems that there will be no contradiction between stride size and rise and fall changes, and you can dance to any music. However, as long as we analyze it carefully, we will understand that even this one-step jump method with uniform motion without rising and falling is selective to music - it must be accompanied by four-beat music to give people harmonious beauty, and it must be accompanied by four-beat music. Only then will you feel smooth and fluent. The four-beat rhythmic pattern of strong, weak, sub-strong and weak is exactly consistent with the uniform movement of left, right, left and right, thus creating a harmonious beauty of a march style. In addition to the changes in speed, Bruce's basic style of stability, concentration and refinement has been difficult to maintain and develop. But if you move left, right, left, and right at a constant speed in the three-beat rhythm of strong, weak, and weak, the situation is very different: first, when the strong beat is strong, the left and right will move at a constant speed with the ball. , making you involuntarily want to change the size of your strides; secondly, the cyclical ups and downs of three-beat music will make it difficult to develop your march style, as if you are practicing on an uneven field, which is both strenuous and strenuous It was strenuous and impossible to keep steady. Therefore, this wrong concept must be abandoned, otherwise, it will be impossible to develop a good sense of music and dance well. As the old saying goes: "Wu Fu is the appearance of joy." The truth is very profound. In order to improve your dance skills, you must improve your music appreciation. The low-level pursuit of simply treating music as a "time mark" for dance steps should be gradually abandoned in practice and replaced by the perfect unity of music and dance.
Being able to accurately distinguish three beats and four beats is only the first step in musical understanding. Because there are many dance types that belong to the same four-beat rhythm: blues, tango, foxtrot, rumba, jitterbug, quick step, etc., no dance music does not have its own unique style. And if we cannot correctly distinguish and identify them, we cannot say that we have learned and mastered these dance types. When someone asks you to perform a dance that you think you are good at, but there happens to be no ready-made dance music prepared, and you need to choose suitable dance music from a large number of unlabeled ripped tapes, you will be in trouble. .
In order to avoid this embarrassing situation, in addition to listening to more music, beginners can also adopt the following simple method to improve their recognition ability-start with the rhythm pattern of the accompaniment part to identify it.
For example, the rhythm pattern of tango dance music is generally expressed in the following three forms:
(-)||Boom boom boom boom·ba||
（ 2)||Boom·baboom·ba|Boom boom·ba||
(3)||Boom·baboom·ba|Boom boom boom·ba||
< p>As long as you grasp this feature, you will know that this is a tango dance music. However, the rhythm pattern of rumba is as follows:(1)||Dongtalata, dongtadatah||
(2)||Dongkala, dongka Dongdong||
Everyone knows the waltz||Bang Cha Cha||
Only the rhythm patterns of blues, foxtrot, quickstep, and jitterbug are The same, they are all simple accompaniments of ||嘭嚓嘭嚓||. So in this case, how should we control it?
Let’s start with a big classification based on speed; Blues and Foxtrot are faster; Quickstep and Jitterbug are faster. This narrows the scope again. The final identification effort will test your music appreciation level.
Quick step has a brisk jumping style and lively and smooth interest; while jitterbug has a distinct rhythm and strong jazz atmosphere, giving people an unstoppable sense of excitement.
The distinction between Bruce and Foxtrot is tricky. Some people divide it based on speed. The blues are called the man-steps and the fox-steps are called the middle steps. But this hardly reflects the real objective situation. The standard tempo of the blues is about 28 bars per minute, but in fact it varies between 26 and 31 bars: the standard tempo of the foxtrot is about 30 bars per minute, but in fact it varies from 28 to 34 bars. . In this way, when both dances are played at the same tempo from bar 28 to bar 31, there is no difference in speed. Unless the blues is played with a 26-bar foxtrot and 34 bars, the above identification method will be effective. But this neither captures the core of the problem, nor is it inevitable to overgeneralize. If the blues were played at 31 bars and the foxtrot was played at 28 bars, wouldn't we get completely different judgments? Therefore, the speed identification method is not suitable for these two dance types. The best way is to identify it from the dance personality. The rhythm of blues dance music is relatively clear, and has an inherent cadence processing and pursuit; while the foxtrot dance tends to express the elegant flow of the melody and the smooth and rounded rhythm. As long as we appreciate it carefully, the difference is quite obvious. It should be noted that some shoddy dance music tapes on the market are often fake. We should learn to make our own choices in discernment. In short, the role of dance music is not just a time mark, but an internal driving force that promotes the dance steps to enter the ideal flow. We should always remember the old saying that music is the soul of dance.
General rules of ballroom dance steps
Mastering the general rules of ballroom dance steps will help fundamentally improve your dance skills. This is the same as using the terminology of ballroom dance, which not only allows us to compare skills and exchange new styles of dance step changes through oral conversation, but also allows us to quickly understand and master the overall laws of ballroom dance culture, and enter the world of freedom as early as possible.
(1) General rules of step structure
All types of ballroom dance, no matter how different their style characteristics are, and no matter how complicated the changes in dance steps* are, in general The structure of the structure is inseparable from the following four types.
1. Basic Figure
Strictly speaking, it should be called Basic Figure. It is a fixed-step dance method that shows the typical style of this dance. Such as the square step of the waltz, the feather step and the three straight steps of the fox trot, the regular step and the continuous step of the tango, etc. The number of steps for each rotation is fixed. When men advance, women retreat, and when women advance, men retreat; the steps of both parties in the dance are completely symmetrical. Therefore, the forward basic step and the backward basic step are actually tautologies of the alternation of two symmetries. It's just that the male partner is given a distinctive title based on the direction of his movement.
Basic dance steps play a very important role in dance. They are the basis and prerequisite for all changes in dance steps. If you can't do the basic dance steps well, it's impossible to dance other variations well. Since it fundamentally represents the typical style of this dance, we must study and analyze it carefully. In terms of walking methods, body position relationships, rhythm processing, weight transfer, lifting changes, subtle procedures of foot movements and specific trajectories of spatial flow, etc., they are all worthy of repeated scrutiny and elusiveness.
We can say this: As long as you master the basic dance steps to a perfect level, it means that you have opened the door to the kingdom of freedom, because mastering the basic dance steps will give you powerful power. strength. Whether you are improvising for self-entertainment or completing prescribed changes on the competition field, you will be invincible. On the contrary, if you ignore the importance of basic dance steps, or refuse to put in more effort because you think they are simple and easy to learn, then it will ultimately limit your development to a more perfect stage. This point should attract enough attention from every enthusiast.
2. Turn translation steps
On the basis of maintaining the basic characteristics of the circulatory support, changes in the direction of travel are called turn dance steps. The forms of turn changes include forward and left turns, backward and left turns, forward and right turns and Four types of back, right and turn. In learning and practical application, many people tend to get entangled in these four forms. In order to help beginners overcome difficulties, and to help enthusiasts with first-level skills master the objective rules of movement design, the human body movement rules of turning dance steps are briefly introduced as follows:
Figure 3 Open front and back opening
Picture 4 Open Lateral
Picture 5 Brush Type Figure 6 Lock Cross
Picture 7 Lock Type forward and turn left, only with the left foot Start when moving forward;
Forward and turn right, you can only start when your right foot is forward;
Backward and turn left, you can only start when your right foot is back;
Backward and right turn can only be started when the left foot is retreating;
In order to facilitate the memory and application of this rule, it can be simply expressed as:
Turn during forward motion , the direction is on the same side as the moving foot;
When turning during backward movement, the direction is opposite to the moving foot.
In addition to the difficult changes in dance steps, this rule is an ironclad rule that must be strictly followed.
3. Special dance steps
Special changes in dance steps used in all dance types, such as sliding steps, lock steps, brush steps, reverse steps, etc. The function of this type of dance steps is to connect, change feet, change the direction of movement and embellish the fun. It is a commonly used method in competitive performances, but it is more difficult to use in self-entertainment situations.
4． Rotational changes
It is not only a development of the turn dance, but also a unique type of change. It is different from the turn dance in two ways: First, the turn dance retains the main characteristics of the basic rotation, while the rotation Sexual changes break this restriction; secondly, the rotation of the turn dance steps generally does not exceed 135 degrees, while rotational changes are generally performed in excess rotations of 180 to 360 degrees. There are many forms of rotational changes. The changes are extremely rich and complicated, but there are still rules to follow. From the perspective of the center of gravity, there are single-foot rotation, lock-type alternating rotation, and cross-twisting of the center of gravity of both feet. From the perspective of dance postures, Classifications include foot-to-foot rotation, open rotation, grand dance rotation, etc.; and from the perspective of movement direction and connection method, there are "backward" rotation, "circuitous" intertwined rotation, swirling rotation and Circling terminations and more. If you are enthusiastic about participating in competitions and have the ambition to win glory for your country, you should spend more time on the laws of this type of change in order to design amazing connections and changes and show your heroic appearance on the competition field. The above structural methods and their laws are just a method of understanding, which can help you get rid of the confusion of the natural state as soon as possible. For ballroom dance enthusiasts with a considerable level of skills, you can completely ignore the constraints of this method of understanding and find another way.
(2) General rules of foot dynamics
The ever-changing ballroom dance steps are like an incomparable "Rubik's Cube". Although the changes are endless, the shapes of the basic elements are limited. of. As long as we are familiar with its prototype, we will not be confused and at a loss when learning complex dance step changes. For high-level ballroom dance enthusiasts, being familiar with this rule can help you gain The ability to dissect excellent examples makes your own appreciation and innovation more convenient.
There are actually only the following five elemental forms of foot movement:
1. The parallel pose
is the form in which the feet are parallel and together. This is the most common elemental form. Although there are slightly different requirements and changes in different dance types, such as the misalignment of the front and rear feet in tango. The waltz's foot-to-foot rise, the blues' full-foot approach, and the foot-to-foot rotation with one foot's center of gravity, etc., but the general requirements and forms are the same.
2. Open
That is, the legs are spread apart without coming together, and one foot mainly supports the center of gravity of the body. There are two forms: front and rear opening and horizontal opening. The front and back opening (Figure 3) can be stationary, or it can be done with the legs spread and moving in the air without landing. The same principle applies to horizontal opening (as shown in Figure 4), which can be divided into different types: static landing and non-landing during movement. But the horizontal opening of tango is not centered on one foot, but a 37-point state with one foot as the main focus. Pictured here is the open look of the tango.
3. The brush style
is a special form of movement (see Figure 5). This form can be expressed in two ways: one refers to the trajectory of the movement process, which is called brushing; the other is the termination form of a single dance step, which is called brushing. Although the shapes of the two are the same, their movement rhythms are completely different. The following is a description of the brush step movement process: the foot that reaches the position first supports the center of gravity. When the second foot reaches the foot next to the center of gravity, it only stops in time, neither changing the center of gravity nor continuing to move. When the next foot (or the next dance step) begins, this foot takes the lead and becomes the first step of the next rotation. This dance step, sometimes expressed as hesitation or hesitation, is a technique of changing feet.
4． Lock style
The cross shape with one foot in front and one foot behind, the heels and insteps touching, the toes parallel, and the little toes touching each other (Figure 7
) is called a lock. style, or lockstep. There is another variation of this form, called a cross, or a lock cross (Figure 6). The fundamental difference between the two is the orientation of the toes and the space between the feet. When "locked" movement is required, it refers to the locked step form. At this time, there should be no gap between the feet. When only "cross" is used, it refers to the latter form. The general lock style is a general concept.
5. Sliding
is a special process state of movement. It is required to complete the quick center of gravity shift without leaving any trace in smooth sliding. Generally, in the duration of two beats, three alternations of center of gravity are completed: open, closed and open). Under different circumstances, the closed form can appear in different variations of the combined form or the locked form. This mode of movement is sometimes expressed in the deformed state of chasing. But the deformation of chasing steps no longer has a closed process, but has turned into three open alternating pursuits.
Top ten keys to good ballroom dancing
Elegance comes from a straight body
The display of style shows the pursuit of beauty
The prerequisite for tacit cooperation is self-balance
The highest skill of leading a dancer is to use the entire body
Improving musical accomplishment is the only way to make dance steps charming
"Leap "Dynamic" is the fundamental way to get rid of the "walking and dancing" form
Sideways skills are the bridge to perfect flow
The ideal lifting must eliminate the step-shaped transition
Tilt is a multi-functional technique
The center of gravity transfer technique is "no trace"