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[MV] GIRL'S DAY(걸스데이) _ Something (Dance ver.)
Then you do sweetheart rocks to move the woman from one side to the other 2 measures or more. It is as though the man is drying his back with a big, fluffy towel. Step forward L woman back R , recover R man beginning to turn LF and so loosening the closed position. During the second measure, the man steps back R continuing to turn and she steps forward L beginning to turn LF. Both then do a side chasse in closed position, man facing center. Of course, you can begin in closed position center and end in closed wall. Very briefly, it is something like a half basic, whip to varsouvienne, half basic woman twist, whip to vars, half basic woman twist. In butterfly position, the man steps forward L checking outside partner, and holds; The woman steps back R, -, raises the L knee drawing the L foot up the side of the R leg, and then extends the L foot forward in a controlled kick as high as is comfortable; The develope is actually the woman's "knee, kick," and it can be done from almost any position, with either foot, with a variety of different entry actions, and occasionally even the man will attempt to do one. When doing a locking cha, turn the toes out and touch the big toe of the locking foot to the heel of the forward foot. In this way, you hold your arm firm, and the body movement gives a little push to lead her hip twist. Remembering the Latin hip, the timing then becomes for the man: In this first step, there is some of the feel of lunging apart. If you began facing wall, both are now facing wallish — probably man reverse and wall and woman line and wall. On the second beat, recover R with right side lead woman recover L and swivel LF to face man. Some women like a delicate, demure look at the end of a hip twist, drawing the left knee across the right thigh in a sort of Marilyn Monroe pose, but others like more strength with the left knee forward in a press and the right hip back, like a drawn bowstring ready to launch into the fan or whatever comes next. On 2, recover R using right side lead woman rec L turning LF back to closed position. On the cha, the man does a small chasse to the right: Sometimes, we are a little too enthusiastic about moving the lady out to fan position. We throw her out there or whip her away, and she gets too far, out at an uncomfortable arm's length. To maintain a closer, more cozy position, the man can consciously bring lead hands to his left front pocket on step 2. This small feature adds control to any fan in any rhythm. Another little refinement for the man replaces the side chasse with a hip twist chasse, like a single cuban break: Furthermore, the crossing step cancels out the progression to reverse of the side step, so he can stay a little closer to his partner. Recover as woman steps forward. In the second measure, the man rocks back and recovers, leading the woman to step forward and then forward with a sharp turn LF. Recover as woman steps forward L. In the second measure, the man steps back R and recovers L, leading the woman to step forward L and then forward R with a sharp turn LF. Here, the man turns her palm down to cause her to overturn and face reverse and wall. Begin in facing position with a right-right handshake. Notice that the lady takes all 10 weight changes. The man only lowers and rises on the 1, 2 of the second measure, for a total of 8 weight changes. I lower and rise and shape to partner as she slides in front of me, and then quietly take weight on my R as she back chas into place, for a total of only 6 weight changes for the figure. But that might just be a reversion from cha to rumba and shouldn't be promoted. End facing partner and wall, lead feet free. There are two "official" ways to do the Umbrella Turn. The original figure was created by Jerry Packman in for his dance, Domingo. It is a neat figure, but for some reason, it didn't catch on at the time. It also starts in a left hand star position, and it goes like this: In both there is the smaller turn to face in measure 4. Here is some context from Sugar Sugar. The Worlocks have us do two shoulder to shoulders to a left hand star;; umbrella turns;;;; to a chase peek-a-boo;;;; And, just so you definitely have more choices than you really want, let me describe a third way to do the umbrella turn. The man still does his forward and back footwork, but the woman turns sharply on the last step of the cha instead of on the rock, recover, or on the first step of the cha. Repeat with the other foot. May be done with opposite footwork, both partners crossing lead in front of trail, for instance, or with same footwork, with both crossing left in front of right. In the Childers' You're the Top Cha Cha, part B begins in open position, facing line, trail feet free, with single cuban breaks;; spot turn to closed position wall; half basic; fan; alemana;; hand to hand; new yorker; quick new yorkers; new yorker; double cuban breaks;; spot turn; back basic; The Andersons' Love Potion 9 has a neat "box with cuban breaks" in it. In DeFore's Bailamos, there is this interrupted sequence: In a double cuban, notice that each step is half a beat except beat 4, where the step uses a full beat. At the end of the first measure of a double cuban, it feels like there is a pause or maybe a "slow," because the step does take a full beat, whereas the six previous steps took only a half beat each. In the continuous double cuban, all the steps are "quick" or half-beat until the very last at the end of the second measure: In the continuous double cuban, you start with the trail foot and end with the lead foot free. This is an "up" sort of figure. The body should stay as stationary and upright as possible, while the feet push to each side under it. Certainly, there should be no rocking. The legs might be something like a clapper swaying beneath a stationary bell. I remember Fred Astaire adding hand movements that helped give the body lift. Starting with the left foot, he placed his right hand, palm toward belt buckle, and his left at the small of his back, fingers pointing down, and as he crossed behind, he slid his hands up, as if pulling up his pants. When crossing right behind left, the right hand went in front. In part B, we have just done a chasse to reverse and have lead foot free, facing wall. We can be facing any direction, and we can do it with either foot. In Bandito Cha by Goss, we dance an alemana;; murphy special 2X;; curl; fan; Rock Recover 1, 2, In a Rock, move the foot forward or back, but don't lunge with the body. Press forward with the lead foot, and the hip will go forward in a nice Latin way, but the torso stays put. Rock back with a press, but keep your "up" poise. The recover becomes much easier, since you don't have to stop the momentum of whole body movement; it is quicker, more responsive. As you see above, this is often the way the "cha-cha-cha" is danced in cha figures. Since the slip ends a bit forward, the final closing action becomes a tiny forward step. If the man stands tall with good tone, the slip chasse will lead a hip twist well see above. These chasse variations can add interest to a lot of different figures. Take small step to side R, side L. Incorporate this into your forward basic, and it is a rock forward, recover, and a little sailor shuffle. Use as the first measure of a basic, alemana, or hockey stick. The footwork automatically produces a little hip twist. Where the slip chasse in the man leads a hip-twist well in the woman, the hip-twist chasse leads her fan well see above. Use as the second measure of a basic or half-basic to a fan. Now trail feet are free. The movement of the trail hands is pendulum-like. At the same time, pat the lead hands as you face partner. So, on first triple, pat lead hands and extend trail hands back. On second triple, swing trail hands thru and turn away. On third triple, turn back and pat, trail hands extended back again. Follow this with a rock fwd, rec, back triple cha, again patting lead hands and extending trail arms back on the first and third triples. End total of four measures with lead feet free. It usually begins in closed position, diagonal reverse and wall, trail foot free. Turning RF, the man crosses his right in back of left, and the woman steps side L. On 2, the man steps side L, and the woman crossed R in front of L, continuing to turn.
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