How to do contemporary dance lifts
Types of Dance Lifts | eHow UK
Whether you want to expand your dance move repertoire or want to impress others with your knowledge of ballet techniques, the task of learning about the various dance lifts can be both daunting and illuminating. While the flow of some dances can give the impression that the art form is free-form expression, dance lifts are governed by strict guidelines. Dance lifts in particular are evaluated according to the ease and competence with which the two dancers perform the lift. Learning about some of the popular lifts illustrates both the discipline and attention to detail which influences dance.
In the "arabesque" position, the woman supports her body on one leg, while extending the other leg behind the body and keeping both knees straight. She faces either the left or right side of the stage, such that the audience sees her profile. Her partner, who is traditionally male, faces the audience and places his right shoulder under her right thigh and the other hand under the bottom of her ribcage. When he lifts her, she bends in the leg on which she was previously standing. A proper arabesque lift is executed when the woman's back leg is raised to an angle of 45 or 90 degrees from her upper body.
- In the "arabesque" position, the woman supports her body on one leg, while extending the other leg behind the body and keeping both knees straight.
Termed because the lifted dancer is meant to look like a fish sprang out of water, this lift begins with the woman starting in an arabesque pose in front of her partner. Both dancers face the same way as the man supports her by wrapping one arm around her waist below the rib cage and the other around the thigh of the leg on which she stands. The man then tilts her downward and she bends the leg on which she was standing and tilts her body slightly upright. This pose requires much back strength merely to lift oneself, and a top quality dancer can lift herself to the ideal angle.
- Termed because the lifted dancer is meant to look like a fish sprang out of water, this lift begins with the woman starting in an arabesque pose in front of her partner.
One of the simplest lifts, this is done by the woman keeping her body as straight as possible. Her partner then places both of his hands under her ribcage and lifts her. The woman must take care in this lift to maintain he straight posture even while being lifted.
One of the most recognised lifts, in this move the male partner lifts or throws the woman as she follows the path of a long, horizontal jump. During the move, she appears to do a split in mid-air. When the man lifts her during this move, he moves forward while holding her, such that she appears to be gliding through the air in a jump. When this move is executed perfectly, the woman does a perfect split and makes sure to complete it at the apex of the jump. Her weight should be pushed forward such that it appears that she is moving forward through her own efforts.
- One of the most recognised lifts, in this move the male partner lifts or throws the woman as she follows the path of a long, horizontal jump.
- When the man lifts her during this move, he moves forward while holding her, such that she appears to be gliding through the air in a jump.
In this lift, the woman is swung behind the male dancer's head from front to back while raising her over his body. At the completion of the move, her body is above his head and she faces the ceiling. Her body is arched strongly backwards and her legs are hanging in front of his chest. His hands hold her upper pelvis and if desired, she keeps one leg in the air in a straight line with her body.
- In this lift, the woman is swung behind the male dancer's head from front to back while raising her over his body.
- His hands hold her upper pelvis and if desired, she keeps one leg in the air in a straight line with her body.
Lifts are classified according to the degree that the man supports the woman. In "low lifts," the woman is never high off of the ground though much of her body weight is supported by her partner and the rest by the momentum of the jump. In a "high overhead lift" the man lifts the woman several feet above the ground. In a "temporary lift" the woman's jump is effectively extended by the support of her partner. In an "extended lift," which requires intense muscular strength on the part of both dancers, the man supports his partner in the air for an extended length of time.
- Lifts are classified according to the degree that the man supports the woman.
- In an "extended lift," which requires intense muscular strength on the part of both dancers, the man supports his partner in the air for an extended length of time.
'Dancing With the Stars' Lift Rule Explained — 'DWTS' Lifts
Season 29 of Dancing With the Stars began on Sept. 14, and throughout an episode that contained a lot of changes, one thing that didn't change is the judges' attention to lifts. Well, one judge's attention to the infamous DWTS lift rule. Already in the season's first episode, judge Carrie Ann Inaba deducted a point for a lift.
The point was deducted from NFL player Vernon Davis and dance pro Peta Murgatroyd's who danced a foxtrot routine, during which Murgatroyd's feet barely left the ground. The point deduction for that lift was extra confusing after seeing TV personality Jeannie Mai and her partner Brandon Armstrong's salsa routine in which he lifted her upside down over his shoulders. One fan's comment on a DWTS Instagram post summed it up perfectly: "I’m confused why he got a point taken away for a lift? Because they don’t allow lifts yet couple dancers later were lifting all over the place?! Since when are lifts not allowed?"
Jeannie Mai with Brandon Armstrong during their salsa routine, where both of her feet are clearly off the floor, constituting a lift.Eric McCandless
Since Inaba has made a name for herself as the show's "lift police," and she will most certainly continue deducting points for illegal lifts as the season continues, allow us to break it down so next time a point is deducted, you know exactly why.
Simply put, lifts are not allowed.
To truly understand the DWTS lift rules, it only makes sense to go to the head lift police herself. In a lengthy Facebook post from 2017, Inaba explained the rules. She wrote,"From day one it was decided that there would be no lifts in the proper Ballroom and Latin dances, just like in a true Ballroom and Latin dance competition, since that was the original basis of the show, to learn ballroom dances." Inaba, who has been a judge since the first season of the show, shared that the show's rules on lifts align with the National Dance Council of America rules, which define a lift as "any movement during which one of the dancers has both feet off the floor at the same time with the assistance or support of their partner."
Davis and Murgatroyd during the spin that turned into a lift when Murgatroyd briefly lifted her back foot from the ground, which is not allowed in a foxtrot.DANCING WITH THE STARS/ABC
But why aren't lifts allowed?
As Inaba explained, the no-lift rule is designed to make DWTS like a true ballroom competition, by sticking as closely to the official competition rules as possible. But the no-lift rule has another purpose, as well: to keep things fair. "It levels the playing field," Inaba said, noting that the show features dancer of varying ages and physical fitness, not all of whom are physically able to do a lift safely. For example, this season includes an age range from Skai Jackson, 18, to Carole Baskin, 59. Allowing lifts could give Jackson and other younger competitors an unfair edge over the older competition.
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Additionally, the no-lift rule ensures that things don't get too out of hand, and that the choreography stays closely aligned with the intended style of dance. "If lifts were allowed in every dance, people would start doing lifts to make their dances visually exciting," Inaba said. "Because truth be told, a good lift is always great to watch." But since lifts aren't traditional in most styles that are danced on the show, it could lead the dances to feel inauthentic. So while Inaba does love to see a good lift, she will not be swayed in letting lifts slide.
Butsome lifts are allowed.
Which brings us back to the dances when there are major lifts, like Mai and Armstrong's over the top (literally) lift that wasn't penalized at all. Huh? After watching the pair's dance, fans had a lot of questions. One tweeted, "I'm confused...weren't those lifts??" and another commented, "So lifts are ok for some people?"
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Though it might seem like the two couples were treated differently — especially when one team's lift was much more egregious than the other's — Inaba's Facebook post clears things up pretty simply. It turns out, it's all about the style of dance. "Over the years, we have expanded our dance styles to include dances such as the Jitterbug, Argentine Tango, the Charleston, Salsa, Jazz, and Contemporary," Inaba wrote. In those styles, lifts are allowed.
But the addition of the new dance styles did not open up the opportunity for lifts in the original dance styles featured on the show. The styles where lifts are still a no-go are: Rhumba, Cha Cha, Jive, Paso Doble, Samba, Tango, Waltz, Viennese Waltz, Foxtrot, and Quickstep.
So in this case, Mai and Armstrong's lift was A-OK because it was in a Salsa routine, whereas Davis and Murgatroyd's Foxtrot lift got docked a point because it falls in the original category of styles in which lifts are absolutely not allowed.
Allow us to make this simple.
If you want to make sure you're not caught off guard when a lift happens during the next episode, be sure to have a cheat-sheet on hand and pay attention to the style of dance the couple is performing.
No lifts allowed: Rhumba, Cha Cha, Jive, Paso Doble, Samba, Tango, Waltz, Viennese Waltz, Foxtrot, and Quickstep.
Lifts allowed: Jitterbug, Argentine Tango, Charleston, Salsa, Jazz, and Contemporary.
"I have always taken a point off for when lift rules are broken," Inaba said, a judging style she has continued to stand by. "I will always do my very best to judge fairly and if that earns me the title of 'Lift Police', well, then I wear that badge with honor."
At the very least, the next time Inaba deducts a point, you'll understand why.
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Watch Dancing With the Stars Monday nights at 8 p.m. on ABC.
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Kelsey Hurwitz is the assistant editor of WomansDay.com, and covers entertainment, holidays, pets, and good news. When she’s not writing about doughnuts and talk show hosts, she can be found watching hours of bad reality TV, belting ‘70s rock songs, and searching for her next favorite snack.
Rotations and turns in dancing (practice)
Rotations are performed with a taut and even body, "coccyx retract", "long neck", chin looks up. This will help you balance and tighten the axle needed for long term spins.
All dancers know to "hold the dot" to spin, but I wonder if you can change dot fast enough? In order to rotate long and hard, you need to train a sharp and lightning-fast change of point. The point should be kept at the level of your eyes and a little higher. Don't look at the floor or you'll end up there.
- Alignment (cross)
Concentrate on aligning the line of the shoulders with the line of the pelvis, they should be parallel. If you do not align the lines of the shoulders and pelvis during the beginning of the rotations, you will not be able to catch the balance and your rotation will not be long, a maximum of 3 pirouettes. To do this, you should train in front of a mirror, stand in a relevé and make sure that the lines of the shoulders and pelvis (hips) are parallel. Also, in front of the mirror, you should control the position of the body, become sideways and make sure that you are not leaning forward or leaning too back.
When pirouettes, you balance on a half-finger (relev), practice balance without rotation. If you can’t stand on a half-finger without spinning, then you won’t be able to stand in a turn either. Practice balance on half toes without rotation, train both the left and right foot, you should stand eight counts at a very slow pace, this will strengthen your axis. What type of spin do you train, classic turnout or jazz closed? Practice every type of balance until you can, it will come in handy in your career as a dancer, modern show groups use all kinds of techniques.
- Your thumb
Where does your thumb point when you rotate it? If your finger is not pointing in the same direction as your knee, this rotation is not considered correct and you will not be able to achieve a multi-spin. Stand on your half-finger and make sure you don't "clubfoot" that your thumb is pointing in the same direction as your knee. There is nothing worse than a clubfoot dancer! If the foot is placed correctly, the weight is also distributed correctly and you will be able to build the best axis for rotation. Make sure that during the rotation you do not jump on the half-toe, do not "play" up and down and your instep is stretched as much as possible. Throughout the rotation, you should stand on the maximum possible half-finger.
- Use the dance floor (parquet)
Push off the deep plié floor with all your strength to set the maximum possible rotational energy. Imagine a Devil in a Box spring toy, you push it down into the box and when you open it, it kind of shoots up with maximum force, while you direct this energy into rotation with your hands. Push off from the plié with enough force to get on your half toe and extend your knee, and of course not more than necessary, otherwise you can not resist. Also, there is a technique in which, during the performance of the plie, the dancer exhales and then briefly inhales during the first turn, which allows you to increase the moment of rotation using an additional force.
- Matching shoes
Depending on the choreography, wear specialized dance shoes. It is not recommended to do rotation without shoes, you can comb the skin on the balls of the feet.
Have you noticed that when doing a series of pirouettes, the arms are closer to the body in subsequent turns than in the first turn? Quite right! During a series of pirouettes, it is very important not to lose the energy of rotation, for this the dancer must skillfully collect his hands to the body, distribute energy for each turn, so that in each subsequent turn the hands are a little closer than in the previous ones. Try it in practice, if you do not bring your hands together, then the rotation will not be fast and not long, but if you sharply take your hands to the body, then you will sharply spin at a higher speed. Now that you know what to do, you should train the most important condition - while bringing your hands together, hold the "cross" (the line of the shoulders and the line of the pelvis should be parallel).
Imagine that while you are spinning, someone is pulling you up by the top of your head. This will allow you to keep a straight axis and rise as high as possible on the half-finger with the involvement of the main muscles of the body.
Pirouette, like a circus trick, performing a series of pirouettes requires long hours of regular practice.
"When I was preparing to break the world record, I worked out at least three days a week for several hours. And it took about a year for me to start rotating from 19up to 55 turns without stopping" - says Lucia Sofia.
Contemporary dance - stages of development, concepts, founders, ideas
• Show Dance • Jazz/Lyric dance • Tap • Acrobatic dance • Ballet • Contemporary dance • Bollywood • Production
• Folk Dance/Folk • Belly Dance/Oriental • Show Belly Dance/Oriental Show • Folk Belly Dance/Oriental Folk • Flamenco
The above Disciplines of Performing arts can be entered in the following categories:
• Male solo • Female solo
• Duets (two women, two men or a man and a woman)
• Trio (only Tap and Bollywood) - any combination of three dancers
• Small group - 3-7 people (Tap and Bollywood - 4-7 people)
• Formation - 8-24 people
• Production - 25 people and more
Baby \ Mini Kids 7 years and under
Children 12 years and under
Juniors 13-16 years
Adults 17 years and over
Adults 2 31 years and over
Seniors 50 years and over (Belly Dance/Oriental)
It is forbidden to dance in different age categories within the same discipline and nominations during the calendar year.
The participant's age category is determined by the participant's year of birth in the current calendar year, at the time of the competition.
For duets and couples, the age category is determined by the age of the older partner. The younger dancer may be 2 years younger than the older partner. However, the age difference between partners cannot be more than 2 years.
Performing arts participants may only use their own music. Dancers cannot compete with themselves.
Authorized for use in many Performing Arts Disciplines. The props are taken out and taken away by the participant at a time, without outside help.
Note: Bulky props are not allowed at IDO events in any of the dances, categories, styles or directions.
Hand props are any items that are carried with the help of hands and are not part of the costume (bells, flags, canes, umbrellas, etc.).
Floor props are any items that are carried out with the help of hands and placed on the floor (chairs, steps, stairs, tables, etc. ).
Stage decorations or backgrounds - curtains or backdrops.
Do not use liquids or other substances that could damage or make the dance floor/stage floor unsafe for performers.
The use of electrical appliances, such as those that create lighting effects, connected to a socket, is only allowed if the appliance is powered by a battery.
Installation and removal of scenery and floor props must take no more than 15 seconds in the Solo, Duo and Trio categories and no more than 25 seconds in the Small Group category. In the Formation category, the allowable time for setting up and disassembling decorations is no more than 45 seconds. Time is counted from the moment the first piece of scenery touches the stage. This rule applies to all Disciplines of the Performing arts. This rule also applies in cases where the dancer takes out hand props.
Duration of performances
Duration of performance 1 minute 45 seconds (1:45) - 2 minutes 15 seconds (2:15)
Small group Duration of performance :30) - 3 minutes (3:00)
Performance duration 2 minutes 30 seconds (2:30) - 4 minutes (4:00)
In the Children Formation category, the time limit is from 2:30 to 3:00 for all performing arts except Belly Dance and Flamenco.
Performance duration 5 minutes (5:00) - 8 minutes (8:00)
Lifts performed with the help/support of another dancer.
Lifts are allowed in some but not all dance disciplines. This information should be specified in the sections of the rules for the relevant disciplines.
Supports are NOT allowed in the Children category, except for the Production and Mini-Production nominations (cancelled on 1.01.16)
Acrobatic movements are movements in which the dancer's body rotates along a vertical or horizontal axis, such as flips, wheels, etc.
Acrobatic moves are allowed in some but not all dance disciplines. This information should be specified in the sections of the rules for the relevant disciplines.
The performance of acrobatic movements does not always involve the award of additional points, but on the contrary, it can contribute to a decrease in points, if the movements are performed technically incorrectly.