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Sly_Guy
Scene Missing
Registered: Jun 2004
Location: On one of Peterman's adventures
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| quote: | Originally posted by nadezhda
but how can you "learn basic forms and movements"? it's not a ballet class with positions and port de bras and shit. i see what you're saying, but still, i dunno. for example, i'd like to think that i dance the way i dance, not because i was trying to emulate other people or styles, ya know? buuut i guess for some people doing that leads to their own style or whatever! and i guess some people take this stuff really seriously? like are you thinking about what you're gonna do next in your head? the fact that you use the word "perform" sounds like you're trying to like put on a show or something.
i'm just trying to wrap my head around this business!
and jumping up and down isn't dancing.  |
every style of dance has it's basic forms, even like ballet. Glowsticking has it's figure 8, liquid has it's rails, waving has the simple armwaves and body waves, etc. Once you learn how to 'perform' these moves [and I use the word perform as I did in the post above, as a means of completing a movement, not as in getting on a stage in front of an audience], you body becomes accustomed to certain orders of movement and you can proceed to improvise them, or completely revamp them.
And yes, you may start by emulating, but it rarely ends that way. Copying someone's style is the best way to understand how the movements feel when you do them with your own body, and allowing yourself to set up the guidlines about what defines that style of dance. After a while, copying leads to influences, the influences lead to exploration and experimentation, and thus your own style.
And yes, some people do take it pretty seriously. Look at breakdancers, or those electric bugaloo folks. Hell even listen to the people who used to go to the paradise garage, they all claimed the people were serious about the way the danced, and there was nothing wrong with that.
And as for thinking beforehand about what move I'm going to pull off, I'd say when I was beginning to learn, I was very conscious about what I was going to do next. I had a certain set of things I could pull off, and I needed to know what I was going to do next because if I didn't think ahead I'd end up maneouvering myself into a body position I didn't know how to escape smoothly from.
Now, 90% I pretty much go with the music, it's become really enjoyable to just let myself go and find new combinations, or even entirely new movements all within the time of the music. Occasionally I'll have a really good idea in my head about something completely new, and do it over and over to the point where it becomes muscle memory, and then try to link it in with other elements.
The problem with thinking too hard about specific moves is that you become too regimented in what you think you can or can't do. the links between specific moves becomes even more important than the moves themselves, like a DJ mixing tracks. Often times creating these links between moves inspires or even creates new moves in themselves, setting your own emerging style apart from other dancers, even in the style that you practice. Being able to pull off a move on one side of your body and then seamlessly launch into another on a completely different area all while in time with the music is where the difficulty comes in. At the end of it all, is the goal of creating one seamless dance that is not rehersed, yet has form and structure. And better still, one that is unique to the person doing it, and enjoying themselves while they do it.
But one last thing, I'll give you an example of how style can arise from the basic forms of a dance: Take glowsticking's figure 8, the move we've all seen to death and probably are tired of.
Instead of holding the sticks outward, try holding them facing inward toward your body. That becomes a different move called a figure 8 body trace, or an inverted figure 8. Now try to have the upper loop of the figure 8 wrap around our head from opposite sides, it becomes a different trace and looks different still. Now try stopping one arm at the point where your sticks are farthest apart in the 8 pattern, use the other arm to come underneath the now stationary one. You've just learned your first threading technique. See how one move can spawn others, and link together? It's finding these links, and making up completely new moves and linking them together that creates one's own style. Sure these are all basic moves still, but they all spawn from the same basic form. But the possibilities are endless, you're still only bound by what you can think up and the ranges of motion in your joints [and sometimes in very painful circumstances not even that!]
___________________
Not Everyone Understands House Music, It's a Spiritual Thing, a Body Thing, a Soul Thing
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 May-03-2006 04:03 
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waynoinsano
Supreme tranceaddict
Registered: Sep 2005
Location: cambridge/kitchener
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| quote: | Originally posted by Sly_Guy
every style of dance has it's basic forms, even like ballet. Glowsticking has it's figure 8, liquid has it's rails, waving has the simple armwaves and body waves, etc. Once you learn how to 'perform' these moves [and I use the word perform as I did in the post above, as a means of completing a movement, not as in getting on a stage in front of an audience], you body becomes accustomed to certain orders of movement and you can proceed to improvise them, or completely revamp them.
And yes, you may start by emulating, but it rarely ends that way. Copying someone's style is the best way to understand how the movements feel when you do them with your own body, and allowing yourself to set up the guidlines about what defines that style of dance. After a while, copying leads to influences, the influences lead to exploration and experimentation, and thus your own style.
And yes, some people do take it pretty seriously. Look at breakdancers, or those electric bugaloo folks. Hell even listen to the people who used to go to the paradise garage, they all claimed the people were serious about the way the danced, and there was nothing wrong with that.
And as for thinking beforehand about what move I'm going to pull off, I'd say when I was beginning to learn, I was very conscious about what I was going to do next. I had a certain set of things I could pull off, and I needed to know what I was going to do next because if I didn't think ahead I'd end up maneouvering myself into a body position I didn't know how to escape smoothly from.
Now, 90% I pretty much go with the music, it's become really enjoyable to just let myself go and find new combinations, or even entirely new movements all within the time of the music. Occasionally I'll have a really good idea in my head about something completely new, and do it over and over to the point where it becomes muscle memory, and then try to link it in with other elements.
The problem with thinking too hard about specific moves is that you become too regimented in what you think you can or can't do. the links between specific moves becomes even more important than the moves themselves, like a DJ mixing tracks. Often times creating these links between moves inspires or even creates new moves in themselves, setting your own emerging style apart from other dancers, even in the style that you practice. Being able to pull off a move on one side of your body and then seamlessly launch into another on a completely different area all while in time with the music is where the difficulty comes in. At the end of it all, is the goal of creating one seamless dance that is not rehersed, yet has form and structure. And better still, one that is unique to the person doing it, and enjoying themselves while they do it.
But one last thing, I'll give you an example of how style can arise from the basic forms of a dance: Take glowsticking's figure 8, the move we've all seen to death and probably are tired of.
Instead of holding the sticks outward, try holding them facing inward toward your body. That becomes a different move called a figure 8 body trace, or an inverted figure 8. Now try to have the upper loop of the figure 8 wrap around our head from opposite sides, it becomes a different trace and looks different still. Now try stopping one arm at the point where your sticks are farthest apart in the 8 pattern, use the other arm to come underneath the now stationary one. You've just learned your first threading technique. See how one move can spawn others, and link together? It's finding these links, and making up completely new moves and linking them together that creates one's own style. Sure these are all basic moves still, but they all spawn from the same basic form. But the possibilities are endless, you're still only bound by what you can think up and the ranges of motion in your joints [and sometimes in very painful circumstances not even that!] |
you goin to US10? haha i wanna see you dance. you clearly know your stoof.
___________________
I like to live with a smile on my face.
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May-04-2006 00:09 
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Sean Cassidy
WIKKID! WIKKID! WIKKID!
Registered: Jan 2005
Location: TORONTO
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May-04-2006 00:29 
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zoogla
Guest
Registered: Not Yet
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| quote: | Originally posted by 5hiftn6ears
translation:...I can't dance either Mary Kate. |
wow...two insults in one little sentence. 
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May-04-2006 00:52
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zoogla
Guest
Registered: Not Yet
Location:
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hehehe my plan is working
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May-04-2006 02:22
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