| There are three factors at work in the developing of | | | | directing the action forward (similar to the action of |
| power and control on the dance floor: | | | | pushing a child in a swing at the park). Your body will |
| | | | travel like the letter "u" - it swings down, travels |
| 1. Balance (which we covered in a past series) | | | | while down through the knees, and rises as it arrives |
| 2. Source of power (starts with the use of the | | | | to the receiving leg. |
| supporting leg and moves up to body projection) | | | | - Body Projection. Variations of this type of |
| 3. Control (alternating body movement and leg | | | | movement are used in dances like Rumba, Cha-Cha, |
| movement) | | | | Swing and Argentine Tango. With your supporting leg |
| BALANCE | | | | straight, compress your hip down slightly as you |
| We went into great detail on the development of | | | | project both, the rib cage and receiving leg forward |
| balance in our "Balance - the Elusive Quality" series - | | | | (imagine you are walking against the current in a |
| which also provided some exercises to help improve | | | | river). You then, transfer the weight forward onto |
| this important aspect of dancing. | | | | the projected receiving leg while holding onto the |
| The essence of good balance lays on the premise of | | | | floor with the back trailing leg until the transfer is fully |
| maintaining both a good straight vertical axis (where | | | | completed. Repeat the same process of body |
| the spine is straight), and a good parallel alignment of | | | | projection and weight transfer for every step. |
| the hips and shoulders with the dance floor. It also | | | | CONTROL |
| requires an awareness of your supporting leg and | | | | As you improve your balance and develop more |
| body column (which will ultimately become the | | | | power in your dancing, you will find a need to control |
| foundation of your source of power). | | | | that power. Without the control to absorb your |
| SOURCE OF POWER | | | | movement, you will constantly dance with your |
| Power is created by an awareness of your | | | | breaks on in order to keep your balance and timing. |
| supporting leg and body column, and a body | | | | The main key to controlling your power is to hold |
| projection towards a clear destination. Depending on | | | | onto the floor with both feet as the body is moving. |
| the style of dancing, there are three main ways to | | | | As you move off of your supporting leg, allow that |
| create power for your movement: | | | | leg to stretch and hold onto the floor until the body |
| - Compression. This type of movement is used in | | | | has arrived to the receiving leg. So, in essence the |
| dances like Samba, social six-count Foxtrot, and to | | | | supporting leg has two jobs; it gives you the power |
| some extent at the second half of the chasse in | | | | to move when you are on it, and gives you the |
| Waltz, Quickstep and Slow Foxtrot. You start by | | | | control to absorb that power after you move off of |
| compressing your supporting leg and forcing your | | | | it. |
| knee to flex and spring back up (similar to the action | | | | Developing power in your dancing is a natural process |
| of a pogo stick). Your body will travel like the letter | | | | and tends to grow as you practice and become |
| "n" - it compresses down, goes back up, travels while | | | | familiar with your dance patterns. However, you can |
| up, and lowers at the arrival to the receiving leg. | | | | only develop as much power as you can absorb. |
| - Body Swing. This type of movement is used in | | | | Become aware of your free leg, stretch it and use it |
| dances like the Viennese Waltz, Waltz, Slow Foxtrot | | | | to hang onto the floor while your body is moving. |
| and Quickstep. Perfect example is the Hesitation step | | | | Soon, power and control will be yours on the dance |
| in the Waltz. You start by swinging your hips straight | | | | floor. |
| down and allow your supporting knew to flex while | | | | |