Phạm Quang Ngọc
(ngocvitamin)
Điều hành viên
hay quá. Chung sức phần đấu vì một
HDC - HanoiAmsterdam Dance Club - nơi hội ngộ của các anh tài
HDC - HanoiAmsterdam Dance Club - nơi hội ngộ của các anh tài
Lớp nhảy cô Lan
- Bắt đầu vicep
- Ngày bắt đầu
Phạm Quang Ngọc
Thành Hà Châu
(thành châu)
New Member
Anh nói hội ngộ thì được anh ạ, chứ Anh tài thì em chết mất ) (
Ờ em Ngọc khỏi lo, thằng bạn chị nó cũng chưa có cạ nhảy ^^ Mỗi tội ko cao lắm, xấp xỉ 1m7 thôi.
) (Ờ em Ngọc khỏi lo, thằng bạn chị nó cũng chưa có cạ nhảy ^^ Mỗi tội ko cao lắm, xấp xỉ 1m7 thôi.
Nguyễn Thị Thu Hà
(nguyenthuha)
Thành viên (sai email)
<= Lão Khánh râu mà béo á??????????Nguyễn Lý Hiền Nga đã viết:cứ đi em ạ
Khánh râu béo quay như em ỉn í
À, em định quảng bá CLB này ở vài trường khác,phát tờ rơi, mọi người đồng ý chứ?
Nguyễn Lý Hiền Nga
(emNga)
Điều hành viên
mới tìm đựơc cái này về anh LongPV :x
http://www.hn-ams.org/hao/guongmat/hocsinh/0.509.1.55.html
tin buồn: ngày mai anh LongPV có việc bận, không đến được(
tin (có thể) buồn: Khánh râu mai đi thi bơi x( chưa biết mấy giờ đến x(
http://www.hn-ams.org/hao/guongmat/hocsinh/0.509.1.55.html
tin buồn: ngày mai anh LongPV có việc bận, không đến được
(tin (có thể) buồn: Khánh râu mai đi thi bơi x( chưa biết mấy giờ đến x(
Đỗ Như Ngọc
(beautyful ruby)
New Member
sáng nay em có đến,huhu tìm mãi mới thấy 1 phòng đang học nhảy vì em hổng biết phòng ăn cấp 2 ở đâu cả.Nhưng em ngại quá, không dám hỏi, nên chăng biết ai với ai.Sáng nay ai có đến tả qua về ngoại hình quần áo cho em nhận mặt đc ko ạ.
Đỗ Như Ngọc
(beautyful ruby)
New Member
hic vậy là nhầm lớp hả anh.(
Em hổng để ý em đến lúc mấy giờ nữa
Ko biết chỗ nào với chỗ nào,nên em đi loanh quanh tìm thử,đang đi thi gặp 1 cô giáo,cô nhờ em đi photo cái gì đó,sozi để các anh chị chờ nhưng em chẳng biết từ chối thế nào,đành phải đi photo rồi mang lên lớp cho cô.
Em cũng thấy có 1 nhóm các anh chị (hình như có anh cầm bao vợt thì phải,em ko nhớ lắm,em tưởng nhóm cầu lông nữa chứ )Lúc cầm mấy tờ đề photo lên tầng 2 em cũng thấy 1 nhóm ở trg cái phòng rộng rộng, năm ngang ý,hình như đấy là phòng 209 ,có phải các anh chị ko ạ.
Hic hic thế là hôm nay em học nhảy ở lớp cô Lan sao ,(nhầm ngố óa),thảm nào thấy cứ là lạ.huhu
Thế chủ nhật tuần sau vẫn đến giờ này chứ ạ.Lần sau nhất định phải gặp đc mọi người
Em là đứa đi xe đạp,mặc quần trắng,áo màu da cam,anh chị có nhìn thấy em ko.
( Em hổng để ý em đến lúc mấy giờ nữa
Ko biết chỗ nào với chỗ nào,nên em đi loanh quanh tìm thử,đang đi thi gặp 1 cô giáo,cô nhờ em đi photo cái gì đó,sozi để các anh chị chờ nhưng em chẳng biết từ chối thế nào,đành phải đi photo rồi mang lên lớp cho cô.
Em cũng thấy có 1 nhóm các anh chị (hình như có anh cầm bao vợt thì phải,em ko nhớ lắm,em tưởng nhóm cầu lông nữa chứ
)Lúc cầm mấy tờ đề photo lên tầng 2 em cũng thấy 1 nhóm ở trg cái phòng rộng rộng, năm ngang ý,hình như đấy là phòng 209 ,có phải các anh chị ko ạ.Hic hic thế là hôm nay em học nhảy ở lớp cô Lan sao ,(nhầm ngố óa),thảm nào thấy cứ là lạ.huhu
Thế chủ nhật tuần sau vẫn đến giờ này chứ ạ.Lần sau nhất định phải gặp đc mọi người
Em là đứa đi xe đạp,mặc quần trắng,áo màu da cam,anh chị có nhìn thấy em ko.
Chỉnh sửa lần cuối:
Phạm Quang Ngọc
(ngocvitamin)
Điều hành viên
ồ, em Ngọc đi đúng phòng rồi mà ko vô, phí quá, hôm nay có thêm 4 thành viên mới là em Đặng Minh Châu, em Dung và 2 bạn của em Thanh Châu, nếu thêm em nữa là 5 rồi.
Hôm nay cô Lan dùng phòng ăn cấp 2 làm chỗ để cô khai giảng lớp mới nhưng theo thông tin được biết thì cô sẽ không dạy vào sáng CN mà lớp đó sẽ học vào tối thứ 2, thứ 6 vì vậy mọi người vẫn có thể học tiếp ở đây vào sáng CN
Sáng nay thầy Khoa giới thiệu sơ qua về Salsa và Merengue. Mấy buổi vừa rồi âm thanh hơi chán, đề nghị em Châu có giải pháp loa đài thích hợp để lớp học có không khí sôi động hơn.>-
Hôm nay cô Lan dùng phòng ăn cấp 2 làm chỗ để cô khai giảng lớp mới nhưng theo thông tin được biết thì cô sẽ không dạy vào sáng CN mà lớp đó sẽ học vào tối thứ 2, thứ 6 vì vậy mọi người vẫn có thể học tiếp ở đây vào sáng CN
Sáng nay thầy Khoa giới thiệu sơ qua về Salsa và Merengue. Mấy buổi vừa rồi âm thanh hơi chán, đề nghị em Châu có giải pháp loa đài thích hợp để lớp học có không khí sôi động hơn.
>-
Phạm Quang Ngọc
(ngocvitamin)
Điều hành viên
Lịch sử của điệu nhảy Salsa:
(ngại dịch quá, có member nào dịch hộ được thì tốt biết mấy )
Salsa is not easily defined. Though many get caught up in the age old debate as to who "invented"
salsa (Cubans or Puerto Ricans), the truth of the matter is that salsa has and will always continue
to have a great number of influences that have each played a large part in its evolution.
CUBAN ORIGINS
Cuba established its identity by combining the influences of its entire population -- white, black,
and mulatto. Music played an important role in the formation of such an identity. The genre that
was to succeed in creatively fusing equal amounts of white- and black- derived musical features
was the son, which subsequently came to dominate the culture not only in Cuba, but most of the
Spanish-speaking Caribbean as well.
The son originated in eastern Cuba during the first decades of the century. From the start it
represented a mixture of Spanish-derived and Afro-Cuban elements. The basic two-part formal of the son has remained the same from the 1920s to the present, and the vast majority of salsa songs (which Cubans would called son or guaracha) also follow this pattern.
Another development that occurred in the 1940s was the invention of the mambo. Essentially, the mambo was a fusion of the Afro-Cuban rhythms with the big-band format from Swing and Jazz. Although bands in Cuba like Orquestra Riverside were already playing Mambo-style in the 1940s, the invention of the Mambo is usually credited to Cuban bandleader Pérez Prado, who spent most of his years in Mexico and elsewhere outside the island. Bandleaders like Beny Moré combined Mambo formats with son and guaracha (a similar up-tempo dance genre). The Mambo reached
its real peak in New York City in the 1950s, where bands led by Machito and the Puerto Ricans Tito Puente and Tito Rodriguez incorporated Jazz-influenced instrumental solos and more sophisticated arrangements. With Prado based chiefly in Mexico and the New York mambo bands developing their own styles, Cuban music had begun taking a life of its own outside the island and the stage was set for the salsa boom of the 1960s.
PUERTO RICAN INFLUENCES
From the early 1800s until today, Puerto Ricans have avidly borrowed and mastered various Cuban music styles, including the Cuban danzón, son, guaracha, rumba, and bolero. Indeed, the richness of Puerto Rican musical culture derives in large part from the way it has adopted much of Cuban music, while contributing its own dynamic folk and contemporary popular music. Puerto Rico should not be regarded as simply a miniature Cuba, especially since genres like the seis, bomba, and plena are distinctly Puerto Rican creations, owing little to Cuban influence in their traditional forms.
Since the 1920s Puerto Rican music has been as much a product of New York City as the island itself, due to the fundamental role the migration experience has come to play in Puerto Rican culture. As a result, Puerto Rican culture can not be conceived of as something that exists of only or even primarily in Puerto Rico; rather, it has become inseparable from "Nuyorican/Newyorican" culture, which itself overlaps with black and other Latino subcultures in New York and, for that matter, with mainland North American culture as a whole.
By the 1940s, Nuyoricans like timbalero Tito Puente and vocalist Tito Rodriguez had become the top bandleaders and innovators, and the Latin dance music scene in New York came to outstrip that on the island. (Even today, there are more salsa bands and clubs in New York than in Puerto Rico).
FANIA RECORDS
The Rise of Salsa is tied to Fania Records, which had been founded in 1964 by Johnny
Pacheco, a bandleader with Dominican parentage and Cuban
musical tastes. Fania started out as a fledging independent label, with Pacheco distributing records to area stores from the trunk of his car. From 1967, Fania, then headed by Italian-American lawyer Jerry Masucci, embarked on an aggressive and phenomenally successful program of recording and promotion.
Particularly influential was composer-arranger Willie Colón, a Bronx prodigy. Colón's early albums, with vocalists Héctor Lavoe, Ismael Miranda and Ruben Bládes, epitomized the Fania style at its best and captured the fresh sound, restless energy, and aggressive dynamism of the barrio youth.
Every commercial music genre needs a catchy label, and there was a natural desire for a handier one than "recycled Cuban dance music". Hence Fania promoted the word salsa, which was already familiar as a bandstand interjection.
The 1970s were the heyday of salsa and of Fania which dominated the market. By the end of the decade, however, salsa found on the defensive against an onslaught of merengue and hip-hop and an internal creative decline.
SALSA ROMANTICA
By the late 1970s, salsa abandoned its portrayals of barrio reality in favor of sentimental love lyrics. Most of what is promoted on radio and records is the slick, sentimental salsa romantica of crooners like Eddie Santiago, Luis Enrique, and Lalo Rogriguez rather than more aggressive Afro-Caribbean salsa Caliente or Salsa Gorda. Perhaps there has been some criticism as to this new sub-genre but one cannot deny that it has managed to keep salsa alive and well. The change is also reflected in the fact that most of today's bandleaders are not trained musicians and seasoned club performers like Willie Colon or Oscar de Leon but cuddly, predominantly white singers distinguished by the pretty-boy looks and supposed sex-appeal like Giro or Salsa Kids .
Salsa remains essentially alive and well, within its limited sphere. Its market has grown in Latin America and Spain. The 1990s have seen former hip-hop/house singers La India and Marc Anthony return to latin music as part of the new wave of salsa stars, attracting new followers with their updated images. There is a glimmer of hope with stars such as Victor Manuelle and Rey Ruiz rising to fame in the current "scene" and many hope that this will lead to a resurgence of the glory years of the 50s and 70s.
6 cấp độ của điệu nhảy salsa
LEVEL 1
Beginner level. Two people are just learning how to move in unison without stepping on each other and not hurting each other.
LEVEL 2
The man and lady are now dancing in time to the music while doing basic patterns and variations.
LEVEL 3
The man is now dancing more complex variations and patterns. They begin to use the space more interestingly with rotation and changes of direction while maintaining flow.
LEVEL 4
The man stops worrying about his own steps and starts leading the lady with ease and control. This is when his leading skills excel and he understands what the follower needs. It is often the time that the man starts to "show-off" his lady with more elaborate variations.
LEVEL 5
This is when the man and lady start to play with the rhythms. Syncopations, changes, slows, quicks, accents, and stops are all used and then the dancers can find the beat again to continue dancing.
LEVEL 6
The ULTIMATE LEVEL...when it all comes together. This is when the dancers become "the physical instruments" of the music. If a deaf person were to watch them dance, he/she could SEE the music through their movements and interpretation.
This is when the man leads his lady to the stops, accents, energy level and mood of every song. Therefore, every song looks different because the dancer is inspired in that moment to feel that piece of music.
This is when I personally achieve the "dancer's high", Euphoria, or Ecstasy. When I can feel an accent building in the music, and my partner gives me the opportunity to do a move that punctuates the "break", I get such a feeling of thrill and satisfaction.
Những bước nhảy cơ bản của Salsa
Forwards basic
Sideways basic
Cross-body lead
Cross-body lead to cuddle
Change places
Backwards basic with leg styling (whiplash for follower)
Overhead hand sweep
Cross-over breaks
Throwout turn
Swivels
Various forms of haircombing
Inside turn
Double inside turn while changing places
Checked inside turn (Peek-a-boo)
Inside turn to neck wrap cuddle
Single hold outside turn
Single hold multiple outside turns
Double hold outside turn
Hammerlock outside turn
Crossed hold outside turn
Outside turn to neck wrap cuddle
Free outside turn led by arm push
Free outside turn led by hip pull
Follower circles leader with hand on his torso
Follower circles leader with hand on his neck
Follower circles leader in double hand hold
Leader lifts arm over follower after outside turn, causing her to circle
Sidestep back to back after hammerlock outside turn
Cuddle
Cuddle leader
Cuddle, cuddle leader (Figure 8)
Sidestep while in cuddle
Sidestep while in leader cuddle
Walk clockwise while in cuddle
Pull into outside turn from cuddle
Pull into hammerlock wrap from cuddle
Pull into free outside turn from cuddle
Step in front from cuddle, pull follower around
Cách Cầm tay nhau/Ôm nhau (Holds)
The terms "closed hold" and "open hold" are standard. Open hold is any hold that is not a closed hold. Most of the terms below I invented myself, to differentiate between the various types of open holds.
Closed hold
Standard ballroom dance hold: leader cups follower's left shoulder blade with his right hand (or else places his right forearm against the follower's back, if the couple is dancing very close together), and holds her right hand with his left hand, with his left arm bent at right angle. Standard dance etiquette says that the follower decides how close to get to the leader when dancing in closed hold. She indicates her preferred distance in a subtle but unmistakeable way, such as by pushing against the leader when she feels he is coming too close. The leader then maintains the distance set by the follower. (Some women I've spoken to say they prefer it when the man forces them close, presumably because this indicates the man finds them attractive. However, a leader who forces a woman close when she doesn't want to be forced close is likely to cause offense. Don't say I didn't warn you!)
Double open hold
Leader holds follower's left hand in his right hand, and her right hand in his left hand.
Crossed hold
Leader holds follower's left hand in his left hand, and her right hand in his right hand. When starting a pattern in crossed hold, the right hands should be on top, in general, so as to allow an outside turn of the follower.
Doubly crossed hold
The hold that results after an outside turn using a double hold. Same hand hold as double open hold, except arms are intertwined. It is very clumsy to simply release hands to get out of this hold. Instead, perform another turn (either of leader or follower) in order to untwist.
Single hold
Leader holds either of follower's hands in either of his hands. Most common combinations are his left to her right and his right to her right. The latter is the "crossed single hold".
Freestyle
No hand hold between leader and follower. They can each do whatever they want, such as show off fancy footwork (sometimes called "shines").
Underarm hold
Starting in double open hold, leader bends his elbows so as to bring follower's hands to his shoulders, then tucks elbows inside and then over follower's arms, then brings his arms down, so that follower's arms are trapped between his upper arm and ribcage (not in his armpit, but rather a few inches lower). This hold is an alternative to the double open hold and can be used to add some extra style when dancing a series of basics or sideways basics.
Collection....
(ngại dịch quá, có member nào dịch hộ được thì tốt biết mấy
)Salsa is not easily defined. Though many get caught up in the age old debate as to who "invented"
salsa (Cubans or Puerto Ricans), the truth of the matter is that salsa has and will always continue
to have a great number of influences that have each played a large part in its evolution.
CUBAN ORIGINS
Cuba established its identity by combining the influences of its entire population -- white, black,
and mulatto. Music played an important role in the formation of such an identity. The genre that
was to succeed in creatively fusing equal amounts of white- and black- derived musical features
was the son, which subsequently came to dominate the culture not only in Cuba, but most of the
Spanish-speaking Caribbean as well.
The son originated in eastern Cuba during the first decades of the century. From the start it
represented a mixture of Spanish-derived and Afro-Cuban elements. The basic two-part formal of the son has remained the same from the 1920s to the present, and the vast majority of salsa songs (which Cubans would called son or guaracha) also follow this pattern.
Another development that occurred in the 1940s was the invention of the mambo. Essentially, the mambo was a fusion of the Afro-Cuban rhythms with the big-band format from Swing and Jazz. Although bands in Cuba like Orquestra Riverside were already playing Mambo-style in the 1940s, the invention of the Mambo is usually credited to Cuban bandleader Pérez Prado, who spent most of his years in Mexico and elsewhere outside the island. Bandleaders like Beny Moré combined Mambo formats with son and guaracha (a similar up-tempo dance genre). The Mambo reached
its real peak in New York City in the 1950s, where bands led by Machito and the Puerto Ricans Tito Puente and Tito Rodriguez incorporated Jazz-influenced instrumental solos and more sophisticated arrangements. With Prado based chiefly in Mexico and the New York mambo bands developing their own styles, Cuban music had begun taking a life of its own outside the island and the stage was set for the salsa boom of the 1960s.
PUERTO RICAN INFLUENCES
From the early 1800s until today, Puerto Ricans have avidly borrowed and mastered various Cuban music styles, including the Cuban danzón, son, guaracha, rumba, and bolero. Indeed, the richness of Puerto Rican musical culture derives in large part from the way it has adopted much of Cuban music, while contributing its own dynamic folk and contemporary popular music. Puerto Rico should not be regarded as simply a miniature Cuba, especially since genres like the seis, bomba, and plena are distinctly Puerto Rican creations, owing little to Cuban influence in their traditional forms.
Since the 1920s Puerto Rican music has been as much a product of New York City as the island itself, due to the fundamental role the migration experience has come to play in Puerto Rican culture. As a result, Puerto Rican culture can not be conceived of as something that exists of only or even primarily in Puerto Rico; rather, it has become inseparable from "Nuyorican/Newyorican" culture, which itself overlaps with black and other Latino subcultures in New York and, for that matter, with mainland North American culture as a whole.
By the 1940s, Nuyoricans like timbalero Tito Puente and vocalist Tito Rodriguez had become the top bandleaders and innovators, and the Latin dance music scene in New York came to outstrip that on the island. (Even today, there are more salsa bands and clubs in New York than in Puerto Rico).
FANIA RECORDS
The Rise of Salsa is tied to Fania Records, which had been founded in 1964 by Johnny
Pacheco, a bandleader with Dominican parentage and Cuban
musical tastes. Fania started out as a fledging independent label, with Pacheco distributing records to area stores from the trunk of his car. From 1967, Fania, then headed by Italian-American lawyer Jerry Masucci, embarked on an aggressive and phenomenally successful program of recording and promotion.
Particularly influential was composer-arranger Willie Colón, a Bronx prodigy. Colón's early albums, with vocalists Héctor Lavoe, Ismael Miranda and Ruben Bládes, epitomized the Fania style at its best and captured the fresh sound, restless energy, and aggressive dynamism of the barrio youth.
Every commercial music genre needs a catchy label, and there was a natural desire for a handier one than "recycled Cuban dance music". Hence Fania promoted the word salsa, which was already familiar as a bandstand interjection.
The 1970s were the heyday of salsa and of Fania which dominated the market. By the end of the decade, however, salsa found on the defensive against an onslaught of merengue and hip-hop and an internal creative decline.
SALSA ROMANTICA
By the late 1970s, salsa abandoned its portrayals of barrio reality in favor of sentimental love lyrics. Most of what is promoted on radio and records is the slick, sentimental salsa romantica of crooners like Eddie Santiago, Luis Enrique, and Lalo Rogriguez rather than more aggressive Afro-Caribbean salsa Caliente or Salsa Gorda. Perhaps there has been some criticism as to this new sub-genre but one cannot deny that it has managed to keep salsa alive and well. The change is also reflected in the fact that most of today's bandleaders are not trained musicians and seasoned club performers like Willie Colon or Oscar de Leon but cuddly, predominantly white singers distinguished by the pretty-boy looks and supposed sex-appeal like Giro or Salsa Kids .
Salsa remains essentially alive and well, within its limited sphere. Its market has grown in Latin America and Spain. The 1990s have seen former hip-hop/house singers La India and Marc Anthony return to latin music as part of the new wave of salsa stars, attracting new followers with their updated images. There is a glimmer of hope with stars such as Victor Manuelle and Rey Ruiz rising to fame in the current "scene" and many hope that this will lead to a resurgence of the glory years of the 50s and 70s.
6 cấp độ của điệu nhảy salsa
LEVEL 1
Beginner level. Two people are just learning how to move in unison without stepping on each other and not hurting each other.
LEVEL 2
The man and lady are now dancing in time to the music while doing basic patterns and variations.
LEVEL 3
The man is now dancing more complex variations and patterns. They begin to use the space more interestingly with rotation and changes of direction while maintaining flow.
LEVEL 4
The man stops worrying about his own steps and starts leading the lady with ease and control. This is when his leading skills excel and he understands what the follower needs. It is often the time that the man starts to "show-off" his lady with more elaborate variations.
LEVEL 5
This is when the man and lady start to play with the rhythms. Syncopations, changes, slows, quicks, accents, and stops are all used and then the dancers can find the beat again to continue dancing.
LEVEL 6
The ULTIMATE LEVEL...when it all comes together. This is when the dancers become "the physical instruments" of the music. If a deaf person were to watch them dance, he/she could SEE the music through their movements and interpretation.
This is when the man leads his lady to the stops, accents, energy level and mood of every song. Therefore, every song looks different because the dancer is inspired in that moment to feel that piece of music.
This is when I personally achieve the "dancer's high", Euphoria, or Ecstasy. When I can feel an accent building in the music, and my partner gives me the opportunity to do a move that punctuates the "break", I get such a feeling of thrill and satisfaction.
Những bước nhảy cơ bản của Salsa
Forwards basic
Sideways basic
Cross-body lead
Cross-body lead to cuddle
Change places
Backwards basic with leg styling (whiplash for follower)
Overhead hand sweep
Cross-over breaks
Throwout turn
Swivels
Various forms of haircombing
Inside turn
Double inside turn while changing places
Checked inside turn (Peek-a-boo)
Inside turn to neck wrap cuddle
Single hold outside turn
Single hold multiple outside turns
Double hold outside turn
Hammerlock outside turn
Crossed hold outside turn
Outside turn to neck wrap cuddle
Free outside turn led by arm push
Free outside turn led by hip pull
Follower circles leader with hand on his torso
Follower circles leader with hand on his neck
Follower circles leader in double hand hold
Leader lifts arm over follower after outside turn, causing her to circle
Sidestep back to back after hammerlock outside turn
Cuddle
Cuddle leader
Cuddle, cuddle leader (Figure 8)
Sidestep while in cuddle
Sidestep while in leader cuddle
Walk clockwise while in cuddle
Pull into outside turn from cuddle
Pull into hammerlock wrap from cuddle
Pull into free outside turn from cuddle
Step in front from cuddle, pull follower around
Cách Cầm tay nhau/Ôm nhau (Holds)
The terms "closed hold" and "open hold" are standard. Open hold is any hold that is not a closed hold. Most of the terms below I invented myself, to differentiate between the various types of open holds.
Closed hold
Standard ballroom dance hold: leader cups follower's left shoulder blade with his right hand (or else places his right forearm against the follower's back, if the couple is dancing very close together), and holds her right hand with his left hand, with his left arm bent at right angle. Standard dance etiquette says that the follower decides how close to get to the leader when dancing in closed hold. She indicates her preferred distance in a subtle but unmistakeable way, such as by pushing against the leader when she feels he is coming too close. The leader then maintains the distance set by the follower. (Some women I've spoken to say they prefer it when the man forces them close, presumably because this indicates the man finds them attractive. However, a leader who forces a woman close when she doesn't want to be forced close is likely to cause offense. Don't say I didn't warn you!)
Double open hold
Leader holds follower's left hand in his right hand, and her right hand in his left hand.
Crossed hold
Leader holds follower's left hand in his left hand, and her right hand in his right hand. When starting a pattern in crossed hold, the right hands should be on top, in general, so as to allow an outside turn of the follower.
Doubly crossed hold
The hold that results after an outside turn using a double hold. Same hand hold as double open hold, except arms are intertwined. It is very clumsy to simply release hands to get out of this hold. Instead, perform another turn (either of leader or follower) in order to untwist.
Single hold
Leader holds either of follower's hands in either of his hands. Most common combinations are his left to her right and his right to her right. The latter is the "crossed single hold".
Freestyle
No hand hold between leader and follower. They can each do whatever they want, such as show off fancy footwork (sometimes called "shines").
Underarm hold
Starting in double open hold, leader bends his elbows so as to bring follower's hands to his shoulders, then tucks elbows inside and then over follower's arms, then brings his arms down, so that follower's arms are trapped between his upper arm and ribcage (not in his armpit, but rather a few inches lower). This hold is an alternative to the double open hold and can be used to add some extra style when dancing a series of basics or sideways basics.
Collection....
Thành Hà Châu
(thành châu)
New Member
Loa đài ạ ^^ cái này thì dễ thôi anh ^^ Sáng nay em ngớ ngẩn thế nào chẳng mang cả sạc pin đi nữa là loa. Tuần sau sẽ nhớ, hứa danh dự ^^
Đặng Minh Châu
(sly whizz kid)
Điều hành viên<br><a href="http://www.hn-ams.org/f
Hôm trước đi học nhảy với mọi người vui quá :x Mong đến cn tuần sau quá
Đặng Minh Châu
(sly whizz kid)
Điều hành viên<br><a href="http://www.hn-ams.org/f
Mà anh Khoa ít cười quá :-s Nhìn anh em cứ sợ sợ
Thành Hà Châu
(thành châu)
New Member
Thằng bạn mình thì kêu là THầy dạy vui và ... T___T Nó tự xét thấy tổng hợp có chất vũ sư ( ( nó bêu riếu mình ( )
( ( nó bêu riếu mình ( )
Nguyễn Lý Hiền Nga
(emNga)
Điều hành viên
em thích phòng học cũ của em hơn :x mát hơn, thoáng hơn, tập trung hơn, yên tĩnh hơn, lại được equip bàn ghế rất tiện sử dụng. nữa là cái khoản dọn bàn ghế đầu giờ là một bài tập khởi động rất tốt cho các bạn nam )
thế hay chúng mình cứ học ở đấy? hơi khó tìm một chút, nhưng thuận lợi hơn, đúng không?
khổ thân em Ngọc lần sau phải manh dạn lên chứ mà cậu Huy không có được dụ dỗ em ý thế [-( Tâm Việt à.... ôi bố nuôi của tớ!! đọc vị
thầy Khoa là hiếm có khó tìm lắm đấy nhé nịnh mãi mới được ; iu anh Khoa nhất :*
chị ChâuPM ơi hôm trước em Hà em ý bảo bạn chị duyên... ; :>
hứa danh dự tuần sau sẽ mang gia tinh Dobby đến!
)thế hay chúng mình cứ học ở đấy? hơi khó tìm một chút, nhưng thuận lợi hơn, đúng không?
khổ thân em Ngọc
lần sau phải manh dạn lên chứ mà cậu Huy không có được dụ dỗ em ý thế [-( Tâm Việt à.... ôi bố nuôi của tớ!! đọc vị thầy Khoa là hiếm có khó tìm lắm đấy nhé
nịnh mãi mới được ; iu anh Khoa nhất :*chị ChâuPM ơi hôm trước em Hà em ý bảo bạn chị duyên... ;
:>hứa danh dự tuần sau sẽ mang gia tinh Dobby đến!
Đặng Bảo Hiền
(shining_star)
New Member
nếu bi giờ muốn gia nhập vào Dance Club của các anh chị thì có được ko ah?
Đặng Bảo Hiền
(shining_star)
New Member
có thể dời sang chiều được không ah?
Em xin lỗi nếu phải dời lịch của các anh chị, nhưng nếu mọi người tiện
Em xin lỗi nếu phải dời lịch của các anh chị, nhưng nếu mọi người tiện
Nguyễn Lý Hiền Nga
(emNga)
Điều hành viên
không em ạ :| chị xin lỗi, nhưng giờ sáng chủ nhật là giờ đẹp nhất, buổi chiều có người bận đi học, có người bận đi chơi, có người bận đi ... ngủ (như chị ), túm lại là không thể học buổi chiều. thêm nữa, cô Lan có lớp dạy nhảy buổi chiều, mình cũng đã xin học buổi sáng, nên không thể chen vào được.
em cố gắng đi buổi sáng góp vui với mọi người nhé
------
thông báo thêm: tình hình nghiêm trọng là bây giờ lớp mình đông nam quá vừa nhận được thư "hăm dọa" là tuần này các đồng chí: Lưu Đức Trung, cái gì đấy Hoài D em xin lỗi, nhất thời quên tên vĩ nhân ) và Lưu Công Thành sẽ rồng rắn kéo nhau đến. không biết sự việc có thật sự xảy ra theo chiều hướng đó không nhưng khả năng họ không mang theo bạn nhảy là rất cao riêng hotboy Phan Vĩnh Long thì đòi được nhảy với một bạn nữ thật "xịn", em nhường chị Dung nhé Bí thư Phạm Duy Khánh (râu) sẽ nhảy với em. vì vậy chúng ta sẽ có tối đa là 9 bạn nam -&) chưa kể thầy Khoa, tối thiểu là 5 bạn nữ (chưa kể em Ngọc Địa 0508) :-& vì thế đề nghị tinh thần quyết tâm chiến đấu của nữ trường mình ( thừa nữ thì còn nhảy với thầy Khoa/với nhau được, chứ nam thì chịu các bạn nữ cô lên nhé, nhất quyết không được để cái bạn duyên duyên của bạn Hà lấn át ;
em Ngọc đi nhé? confirm lại với chị: -834 6560 - 0904 3646 27 - tầng 4, dãy nhà A, khối chiều (cùng buổi với em đấy). nhanh em nhé cho chị yên tâm
), túm lại là không thể học buổi chiều. thêm nữa, cô Lan có lớp dạy nhảy buổi chiều, mình cũng đã xin học buổi sáng, nên không thể chen vào được.em cố gắng đi buổi sáng góp vui với mọi người nhé
------
thông báo thêm: tình hình nghiêm trọng là bây giờ lớp mình đông nam quá
vừa nhận được thư "hăm dọa" là tuần này các đồng chí: Lưu Đức Trung, cái gì đấy Hoài D em xin lỗi, nhất thời quên tên vĩ nhân ) và Lưu Công Thành sẽ rồng rắn kéo nhau đến. không biết sự việc có thật sự xảy ra theo chiều hướng đó không nhưng khả năng họ không mang theo bạn nhảy là rất cao riêng hotboy Phan Vĩnh Long thì đòi được nhảy với một bạn nữ thật "xịn", em nhường chị Dung nhé Bí thư Phạm Duy Khánh (râu) sẽ nhảy với em. vì vậy chúng ta sẽ có tối đa là 9 bạn nam -&) chưa kể thầy Khoa, tối thiểu là 5 bạn nữ (chưa kể em Ngọc Địa 0508) :-& vì thế đề nghị tinh thần quyết tâm chiến đấu của nữ trường mình ( thừa nữ thì còn nhảy với thầy Khoa/với nhau được, chứ nam thì chịu các bạn nữ cô lên nhé, nhất quyết không được để cái bạn duyên duyên của bạn Hà lấn át ;em Ngọc đi nhé? confirm lại với chị: -834 6560 - 0904 3646 27 - tầng 4, dãy nhà A, khối chiều (cùng buổi với em đấy). nhanh em nhé cho chị yên tâm