|
Dance Name
|
Hints & Tips
|
|
Moonlight Mambo
|
Moonlight Mambo.
Man and Lady should stand close together to start the routine
Bar 2: The man provides the lead for the Under Arm Turn by raising the joined hands. It is important to extend the arms forward, away from the mans body, over the ladys head, allowing her to turn to her right, ending in double hold.
Bar 12: The joined right hand should not be lowered too quickly during the Under Arm Turn and the lady should be allowed to turn to the right herself. If the man assists the turn it will pull the lady off balance.
|
|
Sedgehill Samba
|
Sedgehill Samba
Kay Fairgrieve has kindly supplied the following information
Bars 1 and 2 - a few people have said they don't know what Cruzados walks/ locks are. They are in the latest version of the ISTD Latin technique. It's important not to dance them with a swivel action like the plait, but keep the front foot straight and the back foot turned out.
Bar 9 - Drop Volta.The ending position for Lady is Facing DW. A few people have queried whether the lady really crosses in front - yes, she does, just as for a normal volta. (It's easy to cross behind when you walk through it slowly, but if you try it at the right speed it won't work.) The drop voltas are explained in the ISTD's Popular Variations in Latin American Dancing.
Bar 11 - Spot Volta for Lady. People have asked whether the lady's turn is danced solo or retaining hold. It's danced solo, but the man must give her a strong lead with the right hand and then catch her right hand in his left at the end of the turn. And yes, the man dances a whisk with a lot of turn, moving to the lady's right hand side.
Bar 16 - Lady keeps the weight on the right foot for the hip rock/ rhythm bounce, there is no change of weight.
The music used was from Casa Musica The Latin Mix 2. Track 4, El Ritmo Hafanana (by Monkey Circus). I think the CD number is 82876648132. (MSD World have been unable to find a copy to purchase on any English sites)
|
|
Pacino Cha Cha Cha
|
Pacino Cha Cha Cha
Bar 9-10: Zig Zag leading the Lady into the under arm turn to left: Partners should stay close together and keep the zig zag compact to assist the lady turning to the left under the raised arm.
Bar 13-16: There is no hold, until the final step of bar 16. During the Ankle Taps the arms were held out sideways from the body, but this is optional.
|
|
Casbah Cha Cha Cha
|
Casbah Cha Cha Cha
Bar 8- Spot Turn to end in Fan Position: The ladies steps are normal opposite, stepping LF fwd against LOD turning to the R, then RF fwd down LOD cont to turn to R ending with the CCC backing centre as detailed on the script.
Bar 11- Alemana Lady towards Mans R Side: It is important that the lady keeps looking forward where she is going and does not look at the floor throughout this and the following turn to the right.
Bar 12 - 6 to 10 Rope Spinning, Lady spiral 4 count turn: please note on step 2 of this bar the script states “releasing hold”.
The lady moves in front of the man during this bar turning to her R and the Man places his Right Hand only on the Ladies Right Shoulder
Bar 16- The Lady dances normal opposite, LF fwd down LOD turning to R, RF fwd against LOD cont turn to R, Chasse LRL.
|
|
Regency Mazurka
|
The Regency Mazurka
Music: We are unable to locate the Harry Davidson & His Orchestra CD, recorded under the Savoy label, and used for this dance on the internet. Savoy have a number of other Old Time CD’s available, which include Mazurkas.
To listen to a sample of Mazurka music click here and visit the Maestro records web site. Choose CD Catalogue, Old Time Dancing and the artist Bryan Smith. The CD reference is CDTS006 - Traditional Old Time Collection, choose track 5 or 6.
The Regency Mazurka will be a new rhythm for many dancers. Based on Classical sequence technique it includes a step characteristic of a Mazurka, which is a low hop on the supporting foot and at the same time whipping the raised foot to a rear aerial position.
Brief Mazurka History
The Mazurka derived from a Polish folk dance and officers of the Polish army introduced it to European countries during the 19th century. The rhythm became known in England around 1845, but was more popular in Paris and the Courts of Eastern Europe during this time.
The arrangers, Robert and Louise Aldred, used the track “Coppelia” and you may be familiar with the Mazurka in the ballet of the same name.
Possibly two of the best known mazurkas are the Empress Mazurka, arranged by David Rollinson in 1954, and the Oriental Mazurka by Tom Almond in 1950. The last winning Mazurka was arranged by Graham and Kathy Thomson, the Princess Mazurka, in 1996.
|
|
Greenwood Waltz
|
Kevin and Valerie danced to a beautiful piece of waltz music named Winter Waltz.(DSI CM.CL711)
This piece of music has an 8 bar introduction and is only in sequence for the first 4 sequences. You can listen to the track by clicking here
If you would like to purchase the CD then try the music retailers DSI and Maestro linked to our site.
|
|
Tango Disaronno
|
Bar 10 to 12: Throughout the Oversway to Throwaway Oversway and Same Foot Lunge the lady’s headline follows her moving foot.
Oversway - headline to the right
Throwaway Oversway - headline changes to the left, recovering and changing back to the right
Same Foot Lunge - headline to the left
|
|
Tango Tiesto
|
From Bar 7-9
Following the switch turn, the man's left hand will take the lady's right hand as they complete the forward walk and swivel. Man then turn's the lady underneath his left arm and at the end of bar 8 adopts ballroom hold. You then remain in ballroom hold for the remainder of the dance. (confirmed by Andrea Kilgour)
|
|
Rose Waltz
|
Bar 10: Gents left hand is on lady's waist and both man and lady bring their free Right arm into the body whilst stepping LF back down LOD, to end with their right hand cupped just under the rib cage.
Bar 11: They then commence to unfold and extend the Right arm outwards to normal height as they step forward into the balance.
|
|
Paso La Paz
|
The Paso La Paz is choreographed using standard Paso Doble figures, which can be found in the Imperial Society of Teachers of Dancing technique book (sixth edition revised 1999).
The ISTD also produce a DVD titled ‘Paso Doble Syllabus’. It provides a visual display of each figure to help those unfamiliar with this rhythm.
Both items are available from Dance Sport International.
On Bar 3 the man must release his RH and raise his L arm to indicate the Lady’s turn to her R.
The Slip Appel on Bar 7 is only a very small movement of the foot with the Mans RF moving slightly back and the Lady’s LF moving slightly forward.
For alternative Music choices click here
|
|
Riverside Rumba
|
Bar 4 - Alemana, Lady overturning on 41. During this bar the Lady is making a strong turn to her right under the mans raised left arm. Completing a full turn to her right during steps 1 and 2, and a further half a turn to the right on step 3, to end facing LOD in cuddle hold.
If the Lady retains her left hand at waist height during the Alemana it will be easier to join the Mans right hand in cuddle hold.
|
|
Gershwin Foxtrot
|
Stuart Perry has confirmed that the Lady closes her RF to her LF to complete a Heel Turn on the Hover Cross Variation, on count 1 of bar 9
|
|
Imperial Foxtrot
|
Stuart Perry has confirmed that the Extended Weave on Bars 12 and 13 is a Reverse Weave, with the man commencing the figure turning to his left and keeping the lady on his right side. The lady also completes a Heel Turn during the Natural Turn on bar 15.
|
|
Tellavera Tango
|
Bar 10 - step 3
The Lady completes the Outside Swivel by stepping RF fwd in CBMP OP and swiveling to her Right, to end with her Left Foot almost closed to her Right Foot slightly back, without weight in Promenade Position
|
|
Jerrico Jive
|
Steps 6 & 7 of the Rolling off the arm
It is important to emphasis that the Lady must step back on to her LF as she commences to turn to her right and roll out from the crook of the Gents right arm. The Gent must then release his LH hold to allow the Lady to continue her turn to the right.
|
|
Chequers Cha Cha Cha
|
Bar 9, 10 & 13:
Tandem position is shown opposite. The arrangers recommend maintaining the arm position, where possible, to ensure a safe distance is kept between partners and the couple infront.
(Please note: Edwin is holding the microphone and is unable to demonstrate his R arm position, which is as stated on the script)
|
|
|
Rumba Azalea
|
Bar 8:
The Lady should take her Left arm over the joined Right Hands (as shown opposite) on step 3, ready to cucaracha. This will ensure you take up the Left Hand to Left Hand hold correctly on the following bar.
|
|
|
Golden Rose Tango
|
Bar 13:
Lunge line is shown opposite
|
|
|
Saunter Amara
|
Bar 10:
On step 1 the Lady turns to her R. On step 3 both Man and Lady should ensure they are facing against LOD in L to R hand open hold before commencing with the Zig Zag to change places.
|
|
Jaguar Jive
|
Bar 9:
Following the Toe Heel Swivel and chasse the man should ensure he provides a strong lead to his Lady by raising his L arm to indicate the Lady's under arm turn
|
