วันอาทิตย์ที่ 21 ตุลาคม พ.ศ. 2555

Ballroom Dancing - A Brief History

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When you think of Ballroom dancing, you generally think of flowing gowns and dark tuxedos. You also think of beautiful, willowy, women and tall, dark, handsome men waltzing their way around the dance floor. However, ballroom dance is not just the Waltz, it is a lot more. From the elegant and stately waltz, a hot, sultry and sexy Tango or Paso Doble, or a good bit of lively fun like the Fox Trot, Jive or Quick Step, ballroom dancing is all of these.

Technically, ballroom dancing is defined as "Any of various, usually social dances in which couples perform set moves". However, the word "ball" (not the child's toy) comes from the Latin "ballare" meaning to dance and forms the base for the word ballroom (a room for dancing), ballet (a dance), and ballerina (a dancer).

Ballroom dancing was very popular among the gentry (or upper class) of England, in the late 18th and early 19th centuries and didn't really catch on with the working class until the late 19th and early 20th century.

It wasn't until the early 1920's that competitive ballroom dancing began gaining popularity. As a result, the Imperial Society of Teachers of Dancing (formerly known as The Imperial Society of Dance Teachers) formed a Ballroom Branch whose function was to standardize the ballroom dances.

Today, modern ballroom dancing revolves around five dances comprising: the Modern Waltz; the Viennese Waltz; the Slow Foxtrot; Tango; and the Quickstep.

Latin American ballroom is short for Latin and American - not a reference to Latin countries and its dances are the Samba; Rumba; Paso Doble; Cha-Cha; and the Jive.

The modern ballroom dances all involve a couple dancing in a closed hold and vary in tempo (beats per minute) and rhythm (structure). A closed hold involves 5 bodily points of contact between the couple. Three of these points involve the hands, the males left hand holding the females right, the females left hand on top of the males right upper arm (for the Tango the females hand would go behind his arm) and the males right hand on the females back resting on her left shoulder blade. The other two points of contact are the females left elbow resting on the males right elbow and the right side of the females chest touching the right side of the males chest. This dance posture provides a very elegant look as the couple floats across the dance floor and has its origins in the European royal courts.

There is some conjecture that the right side-to-right side contact of the closed hold may have originated from a time when men danced while wearing their swords, which were hung on their left sides. Additionally, this theory would also explain the counter clockwise movement around the dance floor as the man would've stood on the inside of the circle so he wouldn't inadvertently hit any of the people watching the dancers with his sword as he danced past.

The dancing posture for Latin American ballroom varies from dance to dance with some dances using the closed hold and others where the partners hold each other with only one hand.

Both Modern Ballroom and Latin American Ballroom has been standardized for teaching purposes and has a set, internationally recognized vocabulary, technique, rhythm and tempo.

Charly Leetham has an abiding interest in Ballroom Dancing with both of her children undertaking Ballroom Dancing classes and performing exceptionally well.

Learn More About Ballroom Dancing.



วันศุกร์ที่ 12 ตุลาคม พ.ศ. 2555

How to Maintain Emotional Intelligence and Positive Thinking in the Ballet World

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Deborah sets forth with help for you, the would-be ballerina or male ballet dancer, to gain more understanding and control over the demanding world you live in.

Any student of music, writing, and performing of any kind, needs to know some survival techniques to maintain emotional intelligence, and stick with positive thinking. Every new class, with new exams, and fierce competitions, can instigate implosions of self-doubts. How do you take command of your mental and emotional space before that important event? Or so you can sleep well every night?

Deborah designed this book so that teens and pre-teens could discover that there is a way to begin a dialogue about self-sabotaging beliefs and thoughts that so influence their patterns of behavior and success. This 48 page book introduces eight teens with common problems and challenges such as how to take charge of your feelings and how to perform like a pro in the dance studio or anywhere and everywhere. You will learn techniques such as Mental Rehearsing, Creating a Feeling, Refocusing and a very powerful Acting as If. These fun (but seriously amazing) activities will help to train your brain - whether a teen or an adult late starter in ballet - towards success.

As a ballet teacher, I've always recommended to students to look outside the dance classes for ways to help manage their frustrations, fears and struggles with the competitive and perfectionist aspects of the performing arts. I think that private and independent study is best for people - contemplation with direction, and applying uplifting creative techniques to maintain a positive perspective, in one's own way.

That in itself is the challenge - finding one's own way. "Train Your Brain: A Teen's Guide To Well Being" is a wonderful first step on that path.

Click here and find out how a would-be ballerina and men in ballet get exactly the right fit in ballet shoes and pointe shoes, prevent dance injuries, get The Perfect Pointe Book, The Ballet Bible, and Deborah Vogel's products on injury prevention and functional anatomy. Dianne M. Buxton trained at The National Ballet School of Canada, The Martha Graham School of Contemporary Dance and Toronto Dance Theater.