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#61 2dds

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Posted 17 July 2006 - 07:43 AM

Interesting nuts and bolts discussion of the link between technique and magic during training. I think similar corrections (especially "stacking") happen with turns. As a parent I have watched lots of class and noted how students try to get from A to B. I also enjoy talking to so-called natural jumpers after class. They all say you just jump up and hold it there as long as you can. Note the "just"--a give away to the "natural" jumper. I think the same goes for the "natural" turners. As an observer I see dancers who steel themselves before jumps or turns with looks of determination, naked fear, concentration, etc. As well as some who jump (or turn) for joy with blazing smiles on their faces and looks of relief now that their favorite part of class has finally arrived.

It is also very interesting to me to observe the choices dancers make in execution and phrasing as well as in the transitions. Dancers "feel" it differently, and execute their steps differently. Also important, dancers may be more or less consistent and responsive to corrections as Hans notes so pertinently. Ironically, some of the "naturals" are the hardest to correct. #1 their unadorned ability is often considerable and when attention more often goes to the squeaky wheel, the naturals are left with no or less attention. #2 their "natural" approach may disincline them to leave their comfort zone and make changes/corrections

#62 chiapuris

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Posted 17 July 2006 - 09:43 AM

Very astute observations, 2dds, and of wide prevalence.

#63 Helene

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Posted 18 July 2006 - 09:17 AM

Another gem mined from Striking a Balance by Barbara Newman, this time in the words of Desmond Kelly:

I have coached Prodigal, and it doesn't make any difference to my own feelings or interpretation of the role. But giving class and teaching other dancers teaches you an incredible amount. Dancing actually becomes easier. Because you translate it into words for somebody else, those words go back into your own brain. They've been there subconsciously all the time, but not obviously. By telling other people, "For God's sake, use your head, use the rhythm," you do it yourself automatically. I've never been a great turner, but when I was recently showing what the steps were going to be in class, one boy said to me, "God, you turn well." I nearly passed out. It was only because I was doing what I wanted them to do. It was easy, obvious. Why didn't I think of that before?




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