A summary with time codes : 2:20 At the beginning of the bar energy and power; at the end more time, emotion, extra stretch 5:00 Continous swing, no break 6:28 Not slowing too soon; slowing in the high position; "let it go" 7:30, 9:20 Exercise: man creates stretch from the centre; arms go with the lady. To be used on step 2 of natural turn, etc 10:15 Stretching to right, let the lady do it; to left, man can stretch away 11:20 Energy goes forwards in the stretch 11:37 Spin turn. At the same time as the stretch, the man invites the lady to move forwards. Her head delays and comes later. 14:19 In moving forward the lady creates energy to use for the next drive 17:25 Natural fallaway and slip pivot. Quicker steps must be smaller. Again, power at the beginning, time at the end of the bar. 20:15 The connection from body to the arms. Arms follow the body. Not starting from the arms. 22:32 Left whisk. Enter with man's centre moving backwards (like hover corte, throwaway oversway, etc). Do the stretch. Not too much rotation. 25:20 Exit to PP. Rise with foot pressure and stretch. Different possibilities for style, using body and communication. 26:08 Open natural turn. Man must not stretch like the lady. 27:27 Faster from the 1 to the 2, on the 2 spend the time. 28:34 Natural fallaway. On the 2, rise, spend the time, stretch from centre and give arms.
10:30, to R open the lady, to L man open himself. Hands belong to the partner, to support. No pulling. Energy goes forward to the partner, top line stretched back.
It was explained to me like this : in the traditional, English style the rotation causes the swing; in the modern, Italian style the swing causes the rotation. The objective of the "modern" version is more amplitude and dynamism. Would a good example of the traditional style be Warren and Kristi Boyce (th-cam.com/video/b-5GDLwRNxw/w-d-xo.html) ?
A summary with time codes :
2:20 At the beginning of the bar energy and power; at the end more time, emotion, extra stretch
5:00 Continous swing, no break
6:28 Not slowing too soon; slowing in the high position; "let it go"
7:30, 9:20 Exercise: man creates stretch from the centre; arms go with the lady. To be used on step 2 of natural turn, etc
10:15 Stretching to right, let the lady do it; to left, man can stretch away
11:20 Energy goes forwards in the stretch
11:37 Spin turn. At the same time as the stretch, the man invites the lady to move forwards. Her head delays and comes later.
14:19 In moving forward the lady creates energy to use for the next drive
17:25 Natural fallaway and slip pivot. Quicker steps must be smaller. Again, power at the beginning, time at the end of the bar.
20:15 The connection from body to the arms. Arms follow the body. Not starting from the arms.
22:32 Left whisk. Enter with man's centre moving backwards (like hover corte, throwaway oversway, etc). Do the stretch. Not too much rotation.
25:20 Exit to PP. Rise with foot pressure and stretch. Different possibilities for style, using body and communication.
26:08 Open natural turn. Man must not stretch like the lady.
27:27 Faster from the 1 to the 2, on the 2 spend the time.
28:34 Natural fallaway. On the 2, rise, spend the time, stretch from centre and give arms.
如果米尔科大師能帶我跳一次，我死而無憾。
赵艾妮老師鬆而不懈，很棒喔！肌肉柔韌力度也非常好！遺憾的是沒有把太極融納到舞蹈里面，該做的身體動作沒有做，只是頭轉來轉去延伸，沒有把舞跳活，很不理想。這種違背自身機能跳舞，失去平衡內臟各功能自我調理，耗體力傷元氣，疲憊不堪；它只是流流汗與肌肉不萎縮而已，健康收益甚少。這也是選手們共同的缺陷。
如何把舞跳活？跳出飄逸惊人人體藝術？
唯有把太極融入到舞蹈里面，則氣沉丹田，足腳吸地力 ( 壓地板 ) ，節節貫穿到腿、傳到命門突出至胯，形于腹蠕動到腰椎、胸椎含胸束肋，夾脊椎，擴胸椎上拔至頸椎節節貫穿到玉枕(頭殼)往斜上方延伸 ( 太極上講虛靈頂勁 ) 氣貫頂；同時貫穿背後微顛震出波浪狀態之感受，共同出現身前身後波浪式的滾動，連綿不斷，節節貫穿，這就把舞跳活了。
如此連綿不斷，氣運跳舞：打通任督二脈，氣血暢通，調理脾腎、健胃，療理五勞七傷、祛心火，療百病
2024年07月05日中午小天使敬啟
Thanks for sharing this valuable video 🙏
예비보/ 네추럴 스핀턴/ 리버스 턴/ 샤세투라이트/ 아웃사이드체인지/ 샤세/ 네추럴 스핀 턴 / 레프트 휘스크/ 스탠딩 스핀 P•P/ 오픈네추럴/ 네추럴 팔로웨이/ 까지
28:00 Open Natural Turn, Acceleration on 1 to have more time on 2 and 3 for the upper shape opening by foot pressure.
Excellent lecture. Thank you.
Very nice I learn a lot
16:30 Always the connected with the foot pressure for the next action or the stretch of the upper lines.
32:00 enjoy the power and speed on 1 2, enjoy the lightness on 3.
3:00, more power/speed in beginning, more time to stretch/slow down in the end of the bar.
25:00, Standing Spin, lower in the end to pressure rise to PP.
29:00 Fallaway N turn, 1+ 23, smaller first 2 step, then follow the lady as she moving to inside of the circle.
20:00, arms is always coming out of the back, connected to the body, stretched out of the back.
10:30, to R open the lady, to L man open himself.
Hands belong to the partner, to support. No pulling.
Energy goes forward to the partner, top line stretched back.
12:00, Spin Turn, send the lady up and stretch on 2, invite her back by the center as well with the breathing in the hold.
18:00, different timing different energy, different step size.
I noticed the attendees are not using CBM on Beat 1; so called two dimensional dancing
It was explained to me like this : in the traditional, English style the rotation causes the swing; in the modern, Italian style the swing causes the rotation. The objective of the "modern" version is more amplitude and dynamism. Would a good example of the traditional style be Warren and Kristi Boyce (th-cam.com/video/b-5GDLwRNxw/w-d-xo.html) ?
8:00 use the center to open up the lady’s shape, arms follow the lady.
5:00, no break on 1, the greatest speed happened between 1 and 2.
10:00, foot pressure, rise on 2 stretch to open up the lady.
24:00, L whisk, soft knees, soft and stretch of the hold, lady release into it.
7:00 drive it thru, let it go.