Hierarchy of Advancement Workshop Eight

Introduction
Building on the arm-functionality begun in the previous workshop, this session uses an actual flamenco rhythm interpreted on the hands in synchrony with lower body movment. More complex body isolations and arm positions are detailed.

Section I - Basic flamenco castanet rhythm

Warm-up reprising Exercise: A basic hand and foot rhythm to Nuevo Flamenco
Solo. Basic rhythms on castañuelas (hands) and zapateo (feet). All wrist gates.

Concept: The basic flamenco castanet rhythm
Left hand is the time-keeper; and
Right hand plays the roll from little finger to first finger.

Exercise: Basic flamenco castanet rhythm co-ordinated to a simple walk
Solo. Basic flamenco castanet rhythm on castañuelas (hands) and walking (feet). Heart wrist gates.

Exercise: Basic flamenco castanet rhythm co-ordinated to a simple walk, to music
Solo, to music. Basic flamenco castanet rhythm on castañuelas (hands) and walking (feet). Heart wrist gates.

Section II - Lower body action

Concept: Knees as regulators of the lower body action
The rate of extension of the knee joint is critical to the timing of weight transfer; its alignment with the heel and the hip determines the nature of the hip deflection: whether achieved through muscle tension or relaxation. And yet is probably the most overlooked aspect of the lower body action. As salsa dancers are least likely to be developed with respect to the proprioception and cortical mapping of the knees, the final section of basic lower body action will address this.

Exercise: Pedalling revisited
Particular emphasis on the smooth, horizontal plane, backward travel of the knee joint. Detecting the initial effect of the backward travel of the knee by sensing pressure on the sole of the supporting foot. Detecting the advancing effect of the knee by detection of pressure and displacement around the hip joint.

Exercise: Pedalling to flamenco castanet rhythm, static
Synchronising the pedalling action to the basic flamenco castanet rhythm:
heel - knee (commence) - knee (continue) - knee (complete) - hip

Exercise: Pedalling to flamenco castanet rhythm, walking
Without, then to music.

Section III - Compound body movements, horizontal plane

Practice: Body isolation exercise, seated, upper body (torso), compound circular paths
Figure-eight motif e.g. centre-west-centre clockwise one rotation, centre-east-centre anticlockwise one rotation. Repeat. (Note: Inverting the direction of rotation i.e. anticlockwise and then clockwise creates the reverse figure-eight.)

Practice: Body isolation exercise, seated, upper body (torso), compound linear-circular paths
Horizontal-plane loops e.g. north-west linear to north, full clockwise circle plus 90degrees to east, linear to south-east.

Practice: Body isolation exercise, seated, upper body (torso), compound linear-circular paths
Vertical-plane loops - "rocking the cradle".

Likewise:

Practice: Body isolation exercise, standing, lower body (pelvis), compound circular paths
Figure-eight motif e.g. centre-west-centre clockwise one rotation, centre-east-centre anticlockwise one rotation. Repeat. (Note: Inverting the direction of rotation i.e. anticlockwise and then clockwise creates the reverse figure-eight.)

Practice: Body isolation exercise, standing, lower body (pelvis), compound linear-circular paths
Horizontal-plane loops e.g. north-west linear to north, full clockwise circle plus 90degrees to east, linear to south-east.

Practice: Body isolation exercise, standing, lower body (pelvis), compound linear-circular paths
Vertical-plane loops - "rocking the cradle".

Learning point:  Side-of-hip points to little toe
Observe that the lateral mobility of the hip is constrained by the supporting joints beneath it; the ankle and the knee. A general, though not absolute, guide is that 'the side of the hip should point to the little toe of its supporting foot' when that side of the pelvis laterally rotates to its forward-most position.

Concept: A fundamental difference between rumba and son action
The 'side of hip to little toe' phenomenon is used in defining the movement characteristics of rumba and son:

• rumba action has less foot turn-out and hence the hip rotations are further forward, resulting in an even 'figure-eight' pelvic movement-path when viewed from above.
• son action has more foot turn-out and hence the hip rotations are hardly forward, resulting in an asymmetrical 'figure-eight' pelvic movement-path which is flattened on the frontal side (facing the partner) when viewed from above.

Section IV - Arms

Concept: Constraints of the castanet positions
Having to hold the castanets from audience view behind the hands of the dancer, limits the distance which the castanet arm gates can be located distal from the body's centreline - the wrist of the outer arm can only bend inward so far.

Concept: Fan and skirt gates
Gates more distal from the centreline can be defined, and understood more easily, with the hand fan and the skirt. If necessary, a cape can be substituted for males.

Concept: Inner gates, castanets. Outer gates the fan and skirt/cape
These constructs determine the spatial location of the limbs and the routes of travel they trace. Additionally, they determine the conformation/shape of the hand(s).

Exercise: Positioning the arms through the external gates
Upper (fan), upper-outer (fan), outer (fan or skirt), lower-outer (fan or skirt) gates

Section V - Guaguancó fundamentals

Concept: The elemental guaguancó dance rhythm
The basic dance rhythm is a regular one alternating between unaccented and accented beats. This is translated into movement as step-accent-step-accent-(repeat).

Concept: The basic guaguancó movement mode is lateral
The functional constraint of the male having to circle around the female, yet still facing her, results in the foundational movement being laterally-based. Culturally the definition of the circle is important as it represents the circle of creation. Guaguancó is classic pursuit-and-capture.

Exercise: Basic guaguancó walk
Solo. Lateral movement. Side-tap-close-tap-(repeat).

Exercise: Basic guaguancó walk
Solo, to music. Lateral movement. Side-tap-close-tap-(repeat).

Yeo Loo Yen

Hierarchy of Advancement Workshop Seven

Introduction
Current arm work is dominated by the 'styling' approach, whose emphasis is solely aesthetic, and is divested of its underlying tenets of physical functionality. This workshop takes a historical and cultural route to arm positions and movement, as a counterpoint to the styling industry. We also consider how the principles of arm-flow differs in performers with above-average limb-length, and how these are reflected in the strategies they employ.

Section I - Arms

Concept: flamenco's gates
Adapted for Afro-Cuban dance. Spatial way-points for the passage of wrist and elbow joints. Gates explored (wrist): hip, centre, heart, crown and high. The importance of developing cortical mapping, spatial mapping, and proprioception.

Introduction to flamenco's castañuelas
Adapted for Afro-Cuban dance. Deploying castanets as a means of providing auditory feedback for the (unsighted) positions of upper limbs in space and time.

Exercise: A basic hand rhythm to Nuevo Flamenco
Solo. A basic rhythm interpreted on castañuelas, wrists at the heart gate.

Exercise: A basic hand rhythm to Nuevo Flamenco
Solo. A basic rhythm interpreted on castañuelas, wrists at the central gates.

Exercise: A basic hand rhythm to Nuevo Flamenco
Solo. A basic rhythm interpreted on castañuelas, investigating all remaining gates.

Concept: flamenco's zapateo
The practice of zapateo [foot-tapping] as a means of providing auditory feedback for the (unsighted) positions of the lower limbs in space and time.

Exercise: A basic hand and foot rhythm to Nuevo Flamenco
Solo. Basic rhythms on castañuelas (hands) and zapateo (feet). All wrist gates.

Concept: gate linking
The flow, control and angles of the arm-joints as they travel through the various gates perform the functional and aesthetic characteristics of the dance.

Exercise: Offerings on saucers
The parameters of the start positions are: right hand or left hand or both; clockwise or anticlockwise; above or below the shoulder. The objective is to keep the saucers as level as possible throughout the movement, keeping the travelling smooth, even, passing through all the relevant gates, and maintaining an upright torso as far as possible.

Section II - Torso

Concept: finishing the compass points
Compound action of previous torso exercises to achieve linear and circular movements

Practice: body isolation exercise, seated, upper body, north-east to south-west

Practice: body isolation exercise, seated, upper body, north-west to south-east

Practice: body isolation exercise, seated, upper body, compound linear paths
Linked X forms e.g. north-west, north-east, south-west, south-east, north-west. Repeat.

Practice: body isolation exercise, seated, upper body, circular
As per: http://www.salsa-merengue.co.uk/VidTutor/bodyskills/chest_movement_circular.html

Concept: rhythmic changes in movement
The 'push-pull-push' or 'chachachá' movement variation, especially in the linear paths.

Practice: body isolation exercise, seated, upper body, all linear paths, chachachá variations
Substitution of chachachá rhythmic movement variation in all linear path exercises.

Additional Materials
Gravity by Jesse Cook

22nd November 2008 La Tierra Flamenco@Steel City Salsa, Millenium Hall, Ecclesall Road, Sheffield

It transpires that since I've been away in Asia, things have changed a teensy bit at Bill Newby's socials. The music policy, once dominated by Africando with a reggae slot at midnight, has had a makeover more dramatic than in Changing Rooms. Revitalised by an intent to diversify and update the playlist, the night now has a fresher hue to its once-fading colours.

Granted the strategy is more risky; at one point there was a tango vals playing to an empty floor, but given the choice between staid predictable music or something more adventurous, I would always go for latter and forgive the occassional bombs. I personally hope that the social continues along this vein, and that people appreciate that there will be bumps along the way as the music policy evolves.

But what hasn't changed is Bill's desire to introduce Sheffield-folk to other dance genres.

I serious applaud him for doing so, and tonight's social was to be presaged by a flamenco class. At first I wasn't even certain if the social was on, since I hadn't gotten any announcements directly or otherwise; at the eleventh hour, it was thanks to social networking (i.e. Facebook) that the confirmation came along. There was a some umm-ing and aahh-ing as to whether I wanted to scramble for the class after watching 'Strictly Come Dancing' (a guilty pleasure). A "Flamenco Show" billed by Bill last year turned out to be a rather lacklustre Sevillanas demonstration, and I didn't feel like I wanted to risk being short-changed again.

I talked myself into growing a spine... and happily the gamble paid off.

'La Tierra Flamenco' comprise Flamenco dance teacher Naomi Hatch and guitarist Paul Evans. I knew good things were in the offing when I stepped into the hall and espied a dedicated PA setup, two mics, two seats and a well worn flamenco guitar. What can I say... Naomi knew her pedagogy, had a strong yet adaptable lesson plan, good class control, lively and engaging delivery; Paul's support of her was ideotypically strong, smooth, yet unobtrusive. My first experience of them in the lesson context, told me that they make a formidable team.

Flamenco is a lifetime's work, and no single lesson could feasibly turn a novice into an expert. However the smiling faces, the lively chatter, the periods of intense concentration, and the movements of us students at the end of the rumba (flamenco) routine spoke volumes about how deftly the lesson was delivered.

Over the course of tonight, Naomi and Paul gave two shows with a variety of interpretations. Her dancing and his playing have less of the harsh attack of the adrenaline-fuelled white-knuckle ride that I've commonly experienced with Flamenco. Instead there is a slightly rounded edge to their performance, a more subtle approach that I find just as engaging.

With deference to Bill, 'La Tierra Flamenco' gave the best lesson and delivered the best show that I've ever been been to at the social. He booked them blind, and they repaid his faith in full. They can be contacted by email on: latierraflamenco@hotmail.co.uk

And I thank Bill for taking the risk.

Loo Yeo