Showing posts with label FCBD Studio. Show all posts
Showing posts with label FCBD Studio. Show all posts
26 April 2015
02 October 2010
Case in Point
Here's an example of what I mean by Old School New Style; I taught L3 Drills class at the FCBD Studio on Thursday night. Haven't taught a weekday evening class in a long time, it was really good.
As per usual, after we did our puja and warm-up dance, I asked what people would like to work on. Three hands shot up: Sahra Turn passing in duet; Double Back passing duet and Slow/Fast transitions.
Previously, regarding the passing turns, I would have said, "No I can't show you that because only the troupe can do that." But that just seemed like an odd thing to say. If we could do it, why can't everyone else do it? Because not everyone is as skilled as the troupe, that goes without saying. Aha, I know! "Because it's not on a DVD and you might take the info out of the studio and show it to someone else before you actually know how to do it...and yet another style of Tribal will be born!"
But this time I just said, "OK, if you know the filter of ATS steps you can figure anything out." And we did.
For the Sahra, we looked at the original step and where the most graceful and logical place would be for the set up (partners face for the "Jane Russel" part of the turn); the passing (partners take one (R) or two (L,R) steps back to back in the "Ava Gardner" section; and trade places (partners twirl around each other two times to the right ending in "Audrey Hepburn.) Hint: the two twirls at the end are really hard.
The Double Back was easier to figure out; you step-turn on ONE, just the way you would in a solo half turn, but this time you step-turn around your partner. If you want to turn face to face, maintain eye contact. If you want to turn back to back, look away just before you turn (this is a classic trick for lots of things.) Land facing your partner and finish the other side of the step.
Finally I reminded the class that not everyone knows these New Style variations, so be sure to discuss it before you perform it.
For the last part of class we used Old School logic and used common sense to drill through Nubian by Raquy and the Cavemen. It a great piece blending slow-fast feeling, although the tempo doesn't change during the 4/4 section and there is percussion in the background the whole time. Plus, there is a sexy 6/8 ending where you have to use dramatic slow and really know the ending or your cover is blown when you miss the final bah, bah, BAH.
So, see? It's not such a big deal. It's what you do when you're in a creative mood. Some New Style ideas, some Old School ideas and no one gets hurt :)
As per usual, after we did our puja and warm-up dance, I asked what people would like to work on. Three hands shot up: Sahra Turn passing in duet; Double Back passing duet and Slow/Fast transitions.
Previously, regarding the passing turns, I would have said, "No I can't show you that because only the troupe can do that." But that just seemed like an odd thing to say. If we could do it, why can't everyone else do it? Because not everyone is as skilled as the troupe, that goes without saying. Aha, I know! "Because it's not on a DVD and you might take the info out of the studio and show it to someone else before you actually know how to do it...and yet another style of Tribal will be born!"
But this time I just said, "OK, if you know the filter of ATS steps you can figure anything out." And we did.
For the Sahra, we looked at the original step and where the most graceful and logical place would be for the set up (partners face for the "Jane Russel" part of the turn); the passing (partners take one (R) or two (L,R) steps back to back in the "Ava Gardner" section; and trade places (partners twirl around each other two times to the right ending in "Audrey Hepburn.) Hint: the two twirls at the end are really hard.
The Double Back was easier to figure out; you step-turn on ONE, just the way you would in a solo half turn, but this time you step-turn around your partner. If you want to turn face to face, maintain eye contact. If you want to turn back to back, look away just before you turn (this is a classic trick for lots of things.) Land facing your partner and finish the other side of the step.
Finally I reminded the class that not everyone knows these New Style variations, so be sure to discuss it before you perform it.
For the last part of class we used Old School logic and used common sense to drill through Nubian by Raquy and the Cavemen. It a great piece blending slow-fast feeling, although the tempo doesn't change during the 4/4 section and there is percussion in the background the whole time. Plus, there is a sexy 6/8 ending where you have to use dramatic slow and really know the ending or your cover is blown when you miss the final bah, bah, BAH.
So, see? It's not such a big deal. It's what you do when you're in a creative mood. Some New Style ideas, some Old School ideas and no one gets hurt :)
06 August 2009
Hafla! 5 Aug 09
Let the party begin!
The studio fills with guests ...
FrontJunk provides a musical interlude ...
Dancers enjoy refreshments ...
The FCBD students dance ...
The lovely Wendy and Gibson ...
Gibson Pearl performs ...
Wendy Marlatt has just finished her set ...
Leslie and Heather from Buffalo NY ...
The East Bay class ...
A great night was had by all!
23 June 2009
busy
As I'm recovering from Devotion, a thought has occurred to me: I love to produce. The whole experience of producing Devotion was a thrill. I love being busy to the point of distraction, I love having my house and studio filled with people that need things from me, I love working with teams of people that are singlemindedly working toward the same goal, I love all of the problems that get solved, and even the ones that don't get solved can teach me something.
This was also the case when I was a waitress. I wanted the busiest section with the most demanding customers. Loved running back and forth from the cook to the customer (more on this later when I discuss why dancing is like waitressing!) trying to solve problems and make everyone happy. I love offering suggestions instead of just saying "No, we don't have that."
I also love a busy day at the FCBD Studio. People enjoying themselves and seeing the light go on over their heads when I show them something that they didn't think they could do or wear or understand.
And amidst all of this, staying centered and calm. I have to work on that because I can let myself get ungrounded and lose my temper, which I hate to do. But when I can stay cool and make things "go" I feel so rewarded at the end of the day.
This was also the case when I was a waitress. I wanted the busiest section with the most demanding customers. Loved running back and forth from the cook to the customer (more on this later when I discuss why dancing is like waitressing!) trying to solve problems and make everyone happy. I love offering suggestions instead of just saying "No, we don't have that."
I also love a busy day at the FCBD Studio. People enjoying themselves and seeing the light go on over their heads when I show them something that they didn't think they could do or wear or understand.
And amidst all of this, staying centered and calm. I have to work on that because I can let myself get ungrounded and lose my temper, which I hate to do. But when I can stay cool and make things "go" I feel so rewarded at the end of the day.
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