![]() ![]() There are different strengths of accent in music.I'll hit different kinds of execution & combos in future posts. You've already properly led the eye where you wanted. And if you used your "glowing green goo" (different tip) to lead the eye then you don't have to make them look for the accent and find it. Why would you want a smaller motion? I also said crisper. You should feel your pecs/chest muscles also contract. Chest lock down - sharply press your shoulders down and slightly forward on the count.Chest drop - try pressing down your shoulders hard and then sharply letting go of the tension on the count (there is more to it than that, but I'm trying to simplify).Chest down - a large clear lowering of the breasts.Pops, locks and drops should actually be SMALLER (but crisper) than a corresponding skeletal movement.Įxample: Chest down vs chest drop vs chest lock down. It isn't just moving your skeleton somewhere, it is about contracting or releasing muscle in relation to musical counts/accents. Hips, belly, rib cage, shoulders, arms, legs, back: wherever you have muscles that can work in opposition. Locks, pops & drops can occur all over your body, any place you have at least two sets of muscles that can work in opposition. If the sharp sounds are not particularly emphasized then the movement should simply be crisp.Īdd to this the don't-do-anything-over-70%-of-your-ability rule I explained in one of my other tips and you have got a recipe that says you must never hit something really, really hard or it is gonna look bad.If the sharp sounds are just medium in strength then the movement should be medium strength and sharp.If the sharp sounds are strong then the movement should be sharp and strong.If the music has sharp sounds then it is calling for sharp movements.There is not one strength a sharp movement should be executed. When you think "Lock", think "Click." When you think "Pop", think "Tap." When you think "Drop", think "Ahh." So the first thing to do is get rid of those subliminals. The actual words basically tell you subliminally to hit that accent as hard as you can. There is an actual neuro-linguistic programming problem with the very words "Pop", "Lock", and "Drop". Or, maybe they don't understand there is such a concept. Unfortunately, many dancers do not have the control to get truly varying levels of pops, locks and drops. Dancers doing accents that appear random and are too hard for the audience to follow.Dancers overdoing the accents that actually are there by slamming the heck out of any accent they hear even if the music does not really contain hard accents.Dancers overdancing the music by doing accents where there really are none in the music.Personally, I think those traditionalists are seeing several factors that make the accents look extra bad: Many traditionalists detest these sharp accents and feel they do not belong in the dance form. PHOTO CREDIT: Photo by Michael Baxter, Santa Clara, California. Muscles are tensed in anticipation of the drop, then the movement is released. ![]() "Ahh" - A drop is a release on the accent count. Either the muscles are contracted and immediately released, or released and immediately contracted. A pop is a visual "tap." This is a two phase motion that is perceived to be one motion on the accent because of the speed of execution. ![]() ![]() A lock is a visual "click." To execute a lock muscles are contracted on the accent count and held. Pops, locks, and drops in traditional belly dance can be thought of as simply muscle-driven accents. Pops, locks, and drops manifest differently in traditional belly dance than they do in hiphop or most tribal fusion styles. ![]()
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