deb5600
Forum Replies Created
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Oh no! You did not fail!!! Truly!
My comment was aimed at encouraging you in your goal! Line is really hard, ballerinas, queens of LINE, train for ages from the time they are tots to get something even aproximating perfect line…and even then so much depends on intepretation of the music! Say…have you considered maybe taking a ballet class? That would certainly ground you in some technique that would translate well to silks! -
I totally get what you’re saying. What I’m referring to when I say “fill the count” or “feel the music” isn’t about adding lots of steps or lots of moves, but rather allowing each move to fill the entire account that you’re using it for. I’ll give you an example: in one of my Zumba classes, I do an 8 count hip rotation in a circle and I try have my students slow it down, because they will race to get back to the front and be standing there for the final three counts rather than allowing the movement to fill up the entire count sequence. without fail when they use all eight counts perform that movement then the line that they create is much better, movement is also more satisfying and better muscle work.
I’m working on some other things in my pole classes with musical timing and body control trying to help my students to establish the body strength that allows them to use music and timing to complete the different skills.
I thought your opening move and your slow decline at the end were just lovely! And for only your second choerographed piece? Imagine what you’ll be doing in a few months! -
Ok…as a dancer, I have a question. Why did you choose that music. There was absolutely nothing wrong with it, mind you. I just wondered why that piece? Do you treat your performances as skill move to skill move or as a unified dance piece. What I saw seemed to be more an effort to get from skill to skill. And your line in that opening move, the arabesque?, was lovely once you got there. The key to line is to treat the entire piece as ine fluid event, so that each move, from twisting the silk around your foot, to preparing the the silk for you to move through it, to climbing…all of it is part of the show. And by focusing on line there you will naturally extend that to your skill moves.
So here’s my two bits…USE the music…use the fullness of each count and each phrase. Fill it up, not with busyness, but with energy. Use an energetic stillness that fits the music to do your prep or take a rest, if a phrase has eight counts FILL the 8 counts.FEEL the music and FILL the music.
i hope that makes sense. -
Check out “contemporary dance pole” on a Google search…you’ll see plenty of hits where men are dancing and it is really cool, masculine, sey and powerful without being traditionally “pole” or “stripper” style. I just love love love that pole has such variety and so many possibilities for movement.
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How about this: tell him he’d be a good pole buffer and ask him if he’s looking for work!
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Instructors would be helpful if they would remind students that outside experience, strength, and fitness will preload some students. I had a young man in my studio with zero pole experience but 15 years of classical ballet. His kinesthetic awareness, body control, and dance training made translating movement to the pole rather easy. But what made a HUGE difference was his upper body strength. Men naturally tend to far greater upper body strength than women. If you have a more developed upper body and core use that knowledge to encourage your classmates to continue working! Building that strength makes a difference. That means their progress is in their control, it’s not that you are special (although you might be!) It’s that you have skills that you have developed that they can too.
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I went back to school to get my English degree and during that I rediscovered dance through Zumba. I got my dancee minor in 2012, got certified as a Zumba instructor in 2010.
I took an amazing class for my degree: theory and improvisation. The key to improvisation (essentially freestyle) is to build your dance vocabulary IN your body. The bigger your movement “vocabulary”, the more fluid connections you make between movements. Speed, levels, range of motion, distance traveled from center–even stillness–all create interest and make for dynamic movement. Also…KNOWING the music you will dance to REALLY well helps because you can anticipate where you might go. Avoid “kamikaze” freestyle where you don’t know the music! -
Runemist…you needn’t be a classically trained dancer! Here is a better image…think of alowly pouring water into a vessel…glass ..whatever…for slower movement let the movement rise like your slowly filling a pitcher. Then let that overflow into the next move
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I am a dancer-comtemporary and modern and jazz are my genres. When you look at slower movement notice how the dancer “fills” each count. The movement begins at the top of the count…If you have a piece of music that has a slow 8, and you want to use the slow count think of the movement as starting at the top of the One and continuing to the Two and so on. The fluidity comes from sustaining each count as it flows into the next count. Slower movement is harder! It requires more body control and mental concentration. If you are familiar with musical notation use this analogy: the ‘tie’ or ‘slur’ or “legato’ these musical notations indicate how notes relate to one anothe. Staccato is sharp–hit hit hit. The slur is languid and fills the counts connecting each note.
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Kate
Did they undercut you in pricing? -
You managed to make a lot of assumptions about structures I might have and didnt ask a single question for clarification. X poles have the ability to be inserted in a ceiling mount (which X pole sells for just that purpose–or did you not know that?) So they ARE portable AND can be inserted into a ceiling mount.
You mentioned you had business experience. What kind of business? If you are advising perhaps you could provide specific bona fides regarding type nature income and duration of your business(es). -
Especially considering that the poles come in carrying cases because they are bought as portable poles…
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Why would the landlord claim they owned the poles? They would maybe make a claim to the mounts but the poles, not being themselves attached to the space couldn’t be considered a capital improvement any more than my floating mirrors resting on the tracks I put on the walls. Certainly the tracks could be considered an improvement as they are attached to the walls, but the mirrors are not permanent and couldn’t be considered a change tot he structure…I mean really would a landlord lay claim to a picture I hung on the wall using a picture track?