SalsaIsGood - Фигуры сложного уровня в NY/LA и кубинском стилях / SalsaIsGood - Advanced Figures in NY/LA & Cuban Style

SalsaIsGood - Фигуры сложного уровня в NY/LA и кубинском стилях / SalsaIsGood - Advanced Figures in NY/LA & Cuban Style

Страна: Australia
Тематика: Salsa
Тип раздаваемого материала: Видеоурок
Продолжительность: 01:10:00
Год выпуска: 2004
Язык: Английский
Перевод: Отсутствует
Язык субтитров: Английский (в тексте под спойлером)
Описание: Первое видео показывающее как конвертировать связки между различными стилями сальсы

15 очень необычных связок для сложного и очень сложного уровней
Изучайте с легкостью с тремя различными углами сьёмки камерой
Что бы получите от курса:

4 связки содержащие в общей сложности 15 движений
изучите каждую связку в NY/LA, а затем в кубинском стиле
Найдете ясные объяснения как конвертировать элементы
Выучите быстро вместе с устными и письменными объяснениями
Смотрите видео с трех различных ракурсов
следуйте инструкциям во время замедленного повтора
Отработайте тайминг используя ритм счёта сальсы
Используйте подсказки от профессионального танцора кубинской сальсы
Сравните с отснятым в NY/LA с западным танцором
Текстовое описание титров под спойлером

Доп. информация
:
salsaisgood/Advanced_Salsa/Advanced_Salsa_DVD.htm
Advanced Figures in NY/LA & Cuban Style
The first video which shows you how to convert moves between different styles of salsa

15 Very Unusual Advanced and Super-Advanced Salsa Turn Patterns
Learn all the details easily with three different camera views!!
Why learn more than one style of salsa?
Knowing many styles adds to the repertoire of emotions and expressivity you can incorporate into your dance.
Don't make the salsa style you know determine how you dance! Make the music and your mood determine which style you dance and how you dance it.
This video will help you to achieve this. We will show you 15 moves, and demonstrate them in both NY/LA (slot style) and in Cuban style (in a circle). We will show you that it is very easy to adapt moves to different styles, and that moves are just tools for dancing, not the dance itself.

What will I get from this salsa video?
Practice 4 routines including 15 moves
Learn each routine in NY/LA then in Cuban style
Find clear explanations on how to convert moves
Learn quickly with both vocal and written explanations
Watch views from 3 different angles
Follow the instructions given even during the slow motion
Perfect your timing by using the salsa rhythm counting
Pick up hints from a professional Cuban dancer
Compare with the NY/LA filming with a Western dancer
See demonstration clips of different styles - worldwide
Get great value with 70 minutes of viewing
Order your copy on DVD now!!
Advanced Figures NY/LA & Cuban Style
Salsa Video Script
This page contains the 'Script' (that is the spoken part) of the DVD. This may help non English speaking students to follow the instructions, as well as all students to practise the figures when you are not in front of the TV.
Introduction
This video is about exploring the different styles in which salsa is danced.
Knowing many styles adds to the repertoire of emotions and expressivity you can incorporate into your dance. Don't make the salsa style you know best determine how you dance. Make the music and your mood determine which style you dance and how you dance it.
This video aims to help you to achieve this. We will show you 15 moves, and demonstrate them in both NY-LA style (slot style) and in Cuban style (on a circle). We will show you that it is very easy to adapt moves to different styles. All that is needed is to change the structure of the dance in the way the dancers relate to one another.
Each routine is first shown in NY/LA style. The ideas contained in the routine are then broken down and explained individually. The routine is then reassembled and showed in Cuban style.
In order to maintain consistency and to make it easier to transfer from one style to another, all moves are danced on '1', independent of the style.
A crucial feature of this video is the use of the salsa time counting on the top left. Make use of it to time your figure properly. The counting is particularly useful in the slow motion sections.
Before we go into the main content of this video, it is useful to say a few words on the difference between NY/ LA salsa and Cuban salsa.
The most obvious is that NY/LA salsa is danced along a line, in slot position. Turns are performed mostly on the spot, and transitions happen mostly during a cross body lead (XBL). Occasionally, but more rarely, the woman may perform the equivalent of a XBL passing on the right hand side of the man. The result is a linear, mostly counterclockwise motion of the lady with respect to the man's position. Cuban salsa is also danced with the man holding a fixed position, but now the lady's motion defines a circle around the man. The motion of the lady is mostly clockwise, occasionally interrupted by the counter clockwise motion of the Dile Que No (Cuban equivalent of XBL).
Another difference lies in the attitude and expressivity used in the dance. In NY/LA salsa several challenging moves are executed on the spot. This allows dancers to modulate the dance with frequent stops, slowing down and accelerating, as well as to decorate moves with several gestures and styling ornaments. This results in a very elegant, refined and sophisticated style.
Cuban salsa, instead, forces the lady to continuously 'walk ' around the man. Consequently the dance becomes more regular, the pace more constant. Decorations mostly involve the body movements during the walk including more emphasis on the hips and the dance become more spontaneous, more 'earthy', somehow more genuine.
A stylistic rather than technical difference lies in the way the dancers relate to one another. In NY/LA style the partners are encouraged to look at one another and to connect visually. As a result, dancers tend to face one another whenever possible. In Cuban salsa, dancers tend to face opposite directions, avoiding eye contact.

Routine 1
Figure 1
We are now going to explain the details of the first figure. Remember to use the counting on the top left to time the figure properly.
During the XBL, the man changes hand position by catching Right to Right and Left to Left, with the Right hand on top. While keeping the left hand down, he leads the lady into a Right turn. At the end of the turn he throws the right hand of the lady and catches it at his left. We can see this better in slower motion... the man throws the hand . and catches it at his left, above his own right arm.
The lady goes into a XBL, ducking down with a half Right Turn, finishing with a comb. Here the man switches hands again, going back to normal hand hold, and leads a double right turn in hammer lock position. In order to do this, he needs to release and then catch the left hand of the lady with his right.
The man leads the lady into a XBL with inside turn. At the same time he releases the right hand and catches it again in front of the lady. Here he leads the lady into a double right turn while he performs a left turn, finishing with the right hand down and the left hand behind his neck. Notice that in order to do this, the man needs to switch hands again during the double turn.
The man leads the lady into another XBL with inside turn. By simply generating momentum with his own body and twisting the left hand of the lady.. notice the left hand twisting, the lady is lead to turn left. and he turns right to face her. Now by holding her on the shoulder, they go into a rotating XBL, which is completed by the man's left turn into the final XBL.
Figure 2
After a XBL with normal hand hold, the dancers swap positions with a half left turn for the lady. the man goes into a right underarm turn bringing the left down and raising the right hand. Using the right hand he leads the lady into two left turns, while the left hand is kept down and the right hand is also brought down during the second half of the second turn. This is a challenging move. We can see it better from the top. Here is the lady's first left turn with the man dancing on the spot. During the second turn of the lady the man walks around the lady, which helps him to lower the right hand. The lady has been on the spot