How to stroll dance
The Stroll Dance Mixer How To
Posted on by Holly Collins
The Fabulous fifties are a great period. From race cars to poodle skirts, this is a fun era. Films like “American Graffiti” and “Grease” paid tribute to the stroll dance mixer. After doing an “American Graffiti” photo shoot for the Historic Elitch Theatre, I thought I would share how to dance the stroll.
History of the Stroll
The stroll was reported in 1957 by Billboard as a new dance craze. That same year the Diamonds had a hit song named the “Stroll.” By 1958 the stroll was featured on a local TV show in Idaho as one of the biggest dance crazes from American Bandstand. From there It became the feature dance on the TV show “Soul Train.”
The Stroll Dance Mixer How To
The stroll begins with two lines of dancers, gentlemen on one side and ladies facing them. While in line they keep time with the basic stroll movement described below. When they get to the top of the line, facing partners will “stroll” to the bottom of the line improvising their favorite dance moves.
Stroll basic movement
Gentlemen
- Side left foot tap right foot 3 times, (Step left foot side, tap right foot in front, side, front. Count 1,2,3,4,)
- Side, cross behind right (Step side right foot, cross left foot behind right foot count 5,6)
- Side right foot tap left foot 3 times. (Step right foot side, tap left foot in front, side, in front Count 1,2,3,4,)
- Side cross behind left (side left foot, cross right foot behind left foot count 5,6)
- Repeat from the top until you are at the top of the line
- At the top of the line improvise your favorite moves down the line
- At the bottom get back in line and repeat the basic movement.
Ladies
- Side right foot tap left foot 3 times. (Step right foot side, tap left foot in front, side, in front Count 1,2,3,4,)
- Side cross behind left (side left foot, cross right foot behind left foot count 5,6)
- Side left foot tap right foot 3 times, (Step left foot side, tap right foot in front, side, front. Count 1,2,3,4,)
- Side, cross behind right (Step side right foot, cross left foot behind right foot count 5,6)
- Repeat from the top until you are at the top of the line
- At the top of the line improvise your favorite moves down the line
- At the bottom get back in line and repeat the basic movement.
Song:
“The Stroll” by the Diamonds.
Film Locations
We filmed in two locations.
The dance demonstration was filmed in front of Local 46 on Tennyson street in Denver with the friends of Historic Elitch Theatre. Dancers included Tim Nikkel, Tawyna Studdard Sarah Mares Angelic O’Halloren, Collette Susman, Jessica Virgo, Craig & Holly Tomazin.
The dance tutorial was filmed in front of the historic Olinger Moore Howard Chapel on Tennyson street Denver. The narrator is Holly Tomazin, sporting her great aunt Nelle’s blue dress she wore as miss Trinidad in 1950. Holly is assisted by her handy husband, Craig.
Last of all is a photo from the American Graffiti shoot taken on the lawn of the Historic Elitch Theatre by Aaron Virgo. Featured in that photo were Michael Bliss, Tim Nikkel, Tawyna Studdard Jesse Lockwood, Amanda Blackwood, Sarah Mares, Ruiari Sussman, Jimmy & Angelic O’Halloren, Collette Susman, Jessica Virgo, George the poodle, Craig & Holly Tomazin.
Thank you to everyone for all you do.
Holly Collins
WEDDING DANCE instruction
DANCE LESSONS.
author of
Holly’s hot wedding tips,
Historically Accurate Princess Dances,
Winner of:
The Knot Hall of Fame best wedding dance instruction,
top 50 Dance Blogs
Champion Ballroom Dancer & Coach
owner of
Adventures in Dance
720-276-0562
[email protected]
www.adventuresindance.com
For dance tips,
join my email
References
http://www.vintageinn.ca/tag/the-stroll/
http://socialdance.stanford.edu/syllabi/teen_dances.htm
https://dance.lovetoknow.com/The_Stroll_50s_Dance
https://en.wikipedia.org/wiki/The_Stroll
1958 stroll mixer https://youtu.be/UrGLNtZ0rEg
Stroll 2 https://youtu.be/aEGMm0Dgsbs
This entry was posted in How to and tagged dance, How to, mixer, Stroll, The Stroll Dance Mixer How To. Bookmark the permalink.Rediscovered video shows 1958 dance craze “The Stroll”
Most of our modern-era dances are derived from dance cultures of the past.
Although plenty of the old dance routines are rarely observed nowadays, it’s still interesting to learn about them and how the whole dance culture slowly evolved over time.
One of the dances we should revisit is The Stroll.Source:
pinterest.com/Susan King
We know the stroll dance as a form of line dance done with a large group.Most of us have probably heard about the Jitterbug, the Rockabilly Stroll, the Electric Slide and even the Charleston dance. As derived from the original stroll dance, these dances follow completely different sets of steps.
The Stroll was one of the biggest dance craze in the late 1950s.Source:
YouTube Screenshot
Popularized by American Bandstand, The Stroll is a social dance accompanied by a slow-tempo accompaniment—and sometimes it works with a faster one.
Like most of the ’50s dances, the Stroll comprises of simple dance routines that anyone could do as the 1950s focused more on enjoying social interaction whilst on the dance floor.
Source:
YouTube Screenshot
It was commonly thought that The Stroll dance started after the Canadian vocal quartet, The Diamonds, composed a slow rock dance called “The Stroll” in 1958.However, an article from LoveToKnow claimed that this form of dance started back further that we could not exactly tell when this dance was created. You could see some elements on the Stroll from several dance forms across the world like “jive.”
This black and white clip shows how The Stroll was done.Source:
YouTube Screenshot
A bunch of young teenagers from Idaho participated in a local dance show in February 1958, in which they performed the popular dance.
This dance was performed by forming two separate lines with boys on one side, and girls on the other.
Source:
YouTube Screenshot
At the front of each line, each boy and girl walks towards each other in the middle, holds hands and then struts their way to the end of the aisle.After they make their way to the end, a new couple emerges in the middle. The rest of the dancers follow the same routine done by the walkers only it gets performed side-by-side as they wait for their turn.
As this video shows, strolling is as easy as it gets!Source:
YouTube Screenshot
As mentioned beforehand, this type of dance focuses on the most basic foot-related dance steps.There aren’t many hands or arm movements included in the process. If you want to know how to dance the Stroll, then luckily, LoveToKnow broke down the routine into four basic steps.
Source:
YouTube Screenshot
The steps are as follows:First, performers have to step their right foot across the left and touch the floor with just their toes. The second step is to bring back the right foot to a close, then repeat the sequence. The third is to bring the right foot to the left and while putting weight into the right, the dancer should then step the left foot slightly to the left side. Lastly, the right foot is to be brought behind the left foot and while shifting weight to the right, the dancer then moves the left foot slightly again to the left. The sequence is reversible for both the left and right feet and should be done until the dance ends. Give it a shot for yourself!
Check out the full performance in the link below:Please SHARE this with your friends and family.
YouTube/MrMemories
To learn more read our Editorial Standards.
Johndel Callora is a contributor at SBLY Media.
I want to dance. 10 misconceptions about dancing
The desire to learn how to dance is natural and natural in the modern world. You can list the reasons, starting with obvious and popular pragmatic desires, for example, to start moving or losing weight, ending with unconscious and even existential ones.
This is due to the fact that dances are at the subtle intersection of the inner and outer worlds, physical and spiritual. Above this, music becomes a driver that cannot leave anyone indifferent.
In dancing, there is magic inside a person, which is not always noticeable when viewed from the side. At the initial stage, it is the external picture that attracts to dances, and sometimes repels, as it seems too frivolous and superficial.
But there are even stronger obstacles that stop many people from starting dancing.
These illusions and delusions roam the minds of the majority, and are often afraid to ask about them directly, or they ask the question about it so often that they are no longer ready to hear an honest direct answer. I will try to do it in this article.
There are many examples of contemporary dance instructors sharing their thoughts about not expecting to be in the dance industry. Once upon a time there was a man and was engaged in adult, serious business. Sometimes even very serious. A person could have children and even grandchildren. I saw dances only on stage or on TV. For reasons unknown to himself, he ended up in dances. At first, everything seemed like entertainment and a useful pastime. But time has passed, and a person catches himself thinking that he thinks about dancing not just every day, but really all the time. A couple of years pass, and he already becomes a teacher or organizer of some event.
A similar path can start at 15 or 55 years old.
The only difference will be in the self-perception of the starting stage, that it’s too late to dance. In fact, for each age there is its own dance direction, which can reveal it to the greatest extent at this stage. Hip-hop or breaking is closer to children and teenagers, and Argentine tango is closer to adults. It's never too late to start dancing. You need to make the right choice of dance style based on several parameters: age, gender, music, goal. There is a dance direction for any arrangement.
Misconception 2: Men don't dance
Our culture has a number of restrictions related to dancing. Most of these causes are psychological and lie outside the realm of rational reasoning.
First, in our culture, in principle, dancing for pleasure or self-expression appeared relatively recently. 20-30 years ago dance clubs were only for children. To start dancing even in adolescence was considered exotic.
Secondly, the aesthetics of the body in our country for men is not in the focus of attention.
In general, this can be attributed to the fact that Russian men try hard not to draw attention to their appearance and clothing. Men in our country use other tools for this.
Third, dancing is associated with entertainment and alcohol. If a man feels serious and respectable, then he either does not have time or desire for this.
Nowadays the general cultural background has changed and the result is that men are learning to dance. It becomes as much a sign of masculinity as clothing, hair or beard.
Unfortunately, many misconceptions remain even among those who have already started dancing. Dance teachers do not always pay attention to this, as it seems to them that this is a matter of course.
Fallacy 3: special training is needed
For an outside observer, there is always a cognitive dissonance about what dance is. What he sees on the big stage in the form of a show with sweeping movements and splits is obviously dancing.
Breakers doing unimaginable elements in the air and on their hands, competing with each other, also seem to be dancing. Pensioners in the park waltz. Dancing again, but for some reason everyone is so different. How to understand that this is a dance, and what physical criteria should be in the body.
In fact, any self-expression through the body to music can be attributed to dance. There are a number of reservations, but they are not essential. For self-expression, a person uses the set of plastics that he has. Subtlety and technique do not depend on extreme ways of self-expression, and it often happens that splits and somersaults interfere with a meaningful dance. The development of plasticity and the expansion of the body's capabilities are part of the preparation of a dancer, but not an end in itself.
Fallacy 4: You must learn to dance in pairs
In couple dancing, the final learning outcome is that the couple dances at a party.
It would seem that you should always train together to get the desired result. This is not true. Let's take an example from boxing. An indicator of a boxer's skill is a fight with an opponent, but this does not mean that he constantly has to fight. Also, the ability to dance is built on the possession of one's own body and the ability to interact.
The skill of the teacher is the correct selection of methods so that the student masters the skill. Based on the skill, you can engage in creativity and self-expression in dance. Not everyone knows, but it is no coincidence that almost all social dance dancers have a serious dance background, which is based on the development of individual techniques.
The same can be attributed to the interaction in a pair. The ability to separate in oneself the one who leads and the one who follows the lead is impossible within the framework of studying the sequence of movements in pairs. For this, there are special exercises that make the skill more versatile.
For this, the presence of a permanent couple is not necessary, as well as the regular presence of a partner in general.
IMPORTANT! You can’t experiment at a party, and everything should be in its place there: men dance with women.
Getting rid of illusions is a complex internal process. If you leave them to yourself, you can even get the opposite result.
Fallacy 5: plastique and stretching are mandatory attributes of dance
Much depends on the genre of dance that you want to master. In previous articles, I have already mentioned that different dance styles are suitable for different ages. It is appropriate to dance hip-hop in adolescence or youth, Argentine tango is a more adult dance, it is important to enter classical choreography at a young age.
The degree of necessary plasticity and sensitivity to the dance direction also correlates. For example, breaking requires great physical effort and dexterity. Elements are built on acrobatics and high speed of execution.
Who are they more suitable for? Obviously young people.
There is a lot of interaction in salsa. It is necessary to feel the partner subtly, to be able to show a variety of figures and elements. Twine or acrobatics are completely inappropriate here. However, a variety of ways to show oneself are required. Accordingly, the dance is youthful, but not at all childish.
The older the dance, the less stretching or acrobatics is required. The main emphasis is on the quality of technology, the variety of ideas and the ability to show plasticity.
Misconception 6: Mirrors are necessary for learning
There is a set of instruments that dancers use to learn how to dance. The fact is that the dancer needs to receive feedback on how his movements look from the side. It is impossible to dance and see yourself from the side at the same time. The most common tool is a mirror. But not the only one.
Like any auxiliary tool, mirrors have positive and negative effects.
The positive is that they can receive feedback in real time and technically it is not very difficult. The downside can be dependence on mirrors. A situation where a dancer cannot capture the feeling of dancing, such as on stage or at a party. For these purposes, you can use, among other things, video filming or proper preparation.
In many countries in Latin America, dance classrooms are not equipped with mirrors. Classes are held in bars or large halls. The dancers initially form the skill of focusing on the inner sensation, and not the habit of looking for their reflection in the mirror with their eyes.
Misconception 7: there is a lot of obsceneness in dancing
A common question from novice dancers who are taking their first steps in more contact couple dances is “in order to dance cool, there must be passion inside the couple?”. I immediately answer that no, not necessarily. Kizomba, bachata and Argentine tango attract many with their close contact.
Like any other contact in our everyday life, in dances, contact can be different. We hug friends, parents, children. These hugs can wear many different shades. Sexual overtones are one of many.
The culture of dance also includes the boundaries of what is acceptable. A compliment from a well-mannered person is different from a statement about female sexuality by a gopnik. Usually, those who study at a dance school already have an idea of what boundaries should not be crossed. A good dance from a technical point of view will never look vulgar or vulgar.
Dancers always have a choice about the boundaries of contact. Most prefer to leave a good impression of themselves, as word spreads just as fast in the dance world.
Misconception 8: the best dancers are the bearers of culture
Even the very question of the origin of this or that dance can be paradoxical and ambiguous, especially when it comes to its development and performance.
For example, the Viennese waltz did not originate in Vienna, but in Germany. Salsa has its main roots in the USA, not in Cuba. The famous Greek folk dance sirtaki was invented for the film Zorba the Greek and appeared only in 1964.
The same can be attributed to the development of modern dance styles. Korea is known for its world-leading break dancers. People go to Turkey for Argentine tango, Spain is strong with excellent salsa and bachata dancers, in Egypt, Russians are considered the best belly-dance performers.
A good dance is based on quality training and diligence. Skin color, place of birth and age are secondary. Exotic appearance, unfortunately, is often a reason to be more superficial about one's own professional development. This becomes the reason for the low level of teaching among the bearers of culture. I am sure that few readers of this post will be ready to conduct a master class in Russian folk dance outside of Russia.
The mastery of mastering and teaching a particular style does not depend on the dancer's homeland.
And "they absorbed the dance with their mother's milk" is nothing more than a common misconception.
Misconception 9: You have to know a lot of moves to learn how to dance
Focusing on learning a lot of moves often detracts from the essence of dance. Of course, the sequence of figures is important. Especially at the start. Over time, the dancer should have an understanding of how movements can be generated independently. Accordingly, instead of memorizing millions of figures, you can understand how to create them.
From every system of improvisation that a dancer can use as an instrument, dozens, hundreds or thousands of variations are derived. This frees the head from trying to reproduce the exact sequence and definitely adds freedom in the performance of the dance.
The huge theme of musicality can be attributed to the same question. Not every pre-conceived or learned sequence will fit specific music. The dance should give freedom, and not drive the dancer into the shell of the ropes.
Misconception 10: dancing is homosexual
The unusually high attention to the body and flair from stories about professional ballet led to the spread of this myth, among other things. Unfortunately, such an idea still exists in the minds of our fellow citizens.
The dance industry is now very broad and is represented by many dance styles. Some of them can even be called homophobic. Dances reflect the general attitude to the world and it is different depending on the life position and worldview of a person.
In many dances there is contact between the dancers. In Russia, dance contact between men has always been perceived very intensely. In most other countries it is different. An example of the fact that this tension is associated only with the dance theme and does not apply to other areas is, for example, wrestling. When practicing techniques, men are in much closer contact with each other. Sometimes lying on the floor and holding each other tightly.
The historical roots of Greco-Roman wrestling are also ambiguous from a sexual point of view. But in our country, unlike dance, they are perceived as acceptable and brutal.
Dance, like the culture of speech, makes a modern person more successful and self-confident. The ability to control one's body, tune in to another person and the ability to be aesthetic in the plasticity of movement is valuable in the modern world. If we add here the pleasure of the process and the availability of dance as such, then the possibilities of this activity can hardly be overestimated.
It's sad when interested people are stopped by prejudices and myths that have nothing to do with dancing. Freedom in body movements begins with freedom of thought and willingness to change.
I hope that this review will help to take a different look at the dance culture for those who still have doubts about whether to start dancing.
Share on social networks:
Modern dance to modern music
How dancing can become an addiction
The fear and magic of tango
Dangerous sexuality
How dancing on video differs from dancing in movies
The self-destruction of the pair dance community
The Salsa series as a mirror of the community
Destroying the myths about leading pair dance
Does dancing make us better?
12 life hacks to quickly learn how to dance
The seven deadly sins of teachers
Why we will never dance bachata like the Dominicans
Why tango?
Debate over musicality
Selection of dances according to alcohol preferences
Where to find inspiration for dancing?
Terrible tango nuevo
Distribution of roles in a salsa party
Argentinean tango through the eyes of a salsa dancer
Is there a predisposition to dancing?
Which is more effective: individual or group lessons?
Sexual overtones in partner dancing
12 life hacks to quickly learn how to dance from Mamita Dance
dances
Author: Pavel Sobiray
psychologist, teacher of salsa and tango
dances
Author: Pavel Sobiray
psychologist, teacher of salsa and tango
When it doesn't happen, the hypothesis arises that everything takes time. After a conditionally acceptable time, humility comes to mastering pair dances, which, perhaps, is not given, and I will just do what I learned somehow. This is the most common story of those who believe that the mere act of attending a pair dance class is enough to learn how to dance.
Absolutely not. If you want to really dance well, you have to make an effort outside of the dance class. A good teacher will definitely be needed, but the initiative should be on your side.
1. Listen to music
The most common and accessible advice that is given already in the first lessons. And it definitely works. Music creates a certain atmosphere of the dance and intuitively you want to move to it. It doesn't matter where you listen to music - in the car, on headphones while walking or doing household chores.
An addition that will help you dance better is your active participation in the music.
Sing along, dance or simply beat musical accents with any free parts of the body. In the subway, for example, it is enough to tap out bright moments with your fingers, in the car to sing along with sounds, and at home you can jump for pleasure.
2. Watch videos of good dancers
It's complicated, but also obvious. It’s more difficult, because without recommendations from more experienced dancers, unfortunately, it’s not so easy to find a good quality video on the net (I mean not the resolution quality, but the content itself).
Meaningful viewing of the video is to form an understanding of HOW the dancers make this or that impression on the partner or the viewer. Technology is at the heart of everything. Understanding how the pros do it is a big step forward.
It is important to distinguish between a show and a disco dance, a choreographed performance from an improvisation, a stylized dance from an authentic one, etc.
Ask for recommendations, and dance instructors will always upload a couple of videos of worthy landmarks.
Tango Z. Showreel.
Online modern tango courses
Tango nuevo is the most advanced version of tango. We can quickly learn to dance from zero to a steep level.
| View details |
3. Dance in salsatecas/milongas/discotheques
A very delicate moment when it is worth coming to the first party. From a technical point of view, most students in 1-3 months have a sufficient set of figures and techniques to come and dance calmly. Psychologically, the same moment can be stretched out for an indefinite time. After all, it is imperative to “not lose face”, “learn more figures” and be sure what to do in case “there is an unfamiliar movement”.
In fact, the party goers don't really care (except for a small layer of non-professional teachers who want to help inexperienced dancers by treating them as customers in the future).
It is important to come and try dancing after a month of classes. You can only with friends or guys from your group. This will be enough to feel the adrenaline and inspiration from the dance.
4. Dance with partners or partners not of your level
The conventional wisdom that you need to practice in groups of your level does not withstand the test of experience. Perhaps now your eyes widened in surprise, and you want to meaningfully read the phrase again. Yes, you saw everything correctly: when you dance with a partner of your level, you don’t grow anywhere.
It's important to understand that not only does it work one way, and you need to dance with cooler dancers, but it works even more effectively the other way. It is no coincidence that teaching pair dances dramatically raises the level of the teacher himself. You have an endless stream of very beginner dancers.
How it works. A more experienced partner needs to be "stretched".
It's easy and obvious. With beginners, you need to take more initiative on yourself, see the general pattern of the dance more widely, turn on and insure more, try to be an example and be more careful. The quality of interaction begins to grow significantly. And wonderful partners too.
Dancing with partners of your level doesn't make you grow. Dance with both beginners and more advanced dancers
Dominican Bachata Women's Style Online Course
Want to learn how to hypnotize those around you with the most appetizing part of your body? On the course we will tell you all the secrets.
| Interesting |
5. Learn to dance for a partner and for a partner
Turks and Argentines are one of the best partners in the world. In Russia, partners are highly valued. Why? The answer is simple. In Argentina and Turkey, it is not questionable for men to ask another man to lead in one piece or another and give feedback on the quality of the lead.
For them, it will be a great shame to hear moralizing from a partner, or even more so to be known in the community as an insecure partner.
In Russia, due to the constant, often far-fetched, opinion that there are more women in pair dances, partners calmly get up and study their partner's part. Such partners then grow into very cool dancers and teachers. In no case do this at parties, only in class. Here we are talking only about the learning strategy. At parties, be yourself.
6. Do not memorize the links
Always try to look deeper and understand the through principle and idea of movement. Understanding what and how is done will make it possible to independently generate any sequences and chips.
Human memory is limited and there will always be a moment when something will slip away and your repertoire will be limited by the size of RAM.
In Argentine tango, for example, there are seven levels of movement construction that, when mastered, will allow you to make millions of combinations.
And how many dance sequences can you really remember? In rueda, more than 150 figures dance in a rare circle. It's hard to keep more in mind.
7. Develop your body
Many years of experience in teaching partner dance shows that as soon as everyone pairs up in class, any progress in individual style ends. But it is the individual style that distinguishes everyone at the disco: partners change, and style is always with you.
The body as the main instrument of dance must be very plastic, responsive and emotional. Surprisingly, not all pair dance schools have a general physical warm-up. It is vital to tune the body and understand how it works.
You can always train extra and concentrate more on the basic steps, as their true value is as body work. The sequence of steps is, in fact, the simplest thing that can be in pair dancing. The quality of individual performance determines the craftsmanship.
8. Try on the images of inspiring dancers
A psychological life hack for those who have already mastered the steps, but still feel that there is not enough brightness and drive.
Most are terribly afraid of being someone else's "clone". Here the action is the same as under the influence of hypnosis - the more you resist, the more you plunge into an altered state of consciousness.
With a high degree of probability, you are already dancing like someone else's "clone". A meaningful fitting of someone else's image is that you mentally take the image of the one who inspires you (inspiration is critical in this case) and "put on" yourself. Then you start dancing and trying to feel in general how it is to be able, for example, to be the best partner or the sexiest partner in a disco. This is much more difficult than it seems. But it works extremely efficiently.
9. Dance to offbeat music
Habitual rhythms keep you tight. Tango salon or speedy timba leave little room for experimentation and fantasy. Pattern dancing is always noticeable and is reserved for beginners.
The truly new is born outside of the usual.
Look for places to experiment. If there is no place, organize self-training. The main thing is not to get carried away, because music determines the style. We bring something new to pair dances, rather than trying to change them.
Search, improvise, don’t be afraid to go beyond, develop in different directions, be inspired by music atypical for the style
10. Try your hand at basic dance directions
dances exist according to their own non-choreographic laws.
This is the deepest delusion, which has turned into a ceiling for the qualitative development of partner dances. After all, all professional dancers, for example, in salsa or bachata, build their ideas on the basic choreographic principles.
Do not think that choreography is applicable only on stage. Any meaningful movement of the body can be choreographic. In general, try classical or modern choreography. Basically, hip-hop can work too.
11. Look for battle sensations
Pair dances return us to an active position of manifestation of our body. As in the days of our ancient ancestors, we impress the members of the opposite sex by how dexterous, hardy, sexy, etc. we are. Modern laws of the jungle in the entourage of big cities.
If you look around the dance floor, it becomes clear that the majority are clearly herbivores (not in the sense of vegetarians, but in relation to those around them). I am sure that predators are always more interesting in terms of the attractiveness of the image - try to find a counterbalance among herbivores, for example, a cat woman or a lion man.
The conversation is about an internal position, not about aggressiveness. Lability and lack of control are inherent in adolescents, and not in adult self-sufficient people.
Accordingly, even a training or friendly battle gives, on the one hand, practical skills - to make a bright sequence of movements, bring an idea to a climax, show a spectacular trick, on the other hand, develops the psychological basis of the dance - self-confidence, resistance to extraneous attention, self-control and self-control in complex elements.
12. Communicate with professionals
The environment shapes the internal position. Basically, real passionaries of the dance community are ready to openly talk, discuss and support the development of dance in every possible way. Universal principles and the ideas they articulate have a much longer and more practical perspective than meets the eye.
Accept that, for example, behind the words "listen to your partner" is not only a beautiful metaphor, but also a practical skill to literally listen to your partner. At the same time, always treat every thought, even the most respected teacher, as a private opinion.
Your skill will lie in finding the scope of the idea even in contradictory opinions. Most often, the contradiction is speculative and the truth lies in the angle of perception or situationality.
Your dancing growth will stop sooner or later. This can happen at the level of three basic steps or years of experience in teaching and show performances..jpg)
