Troels Bager | How to dance cha cha cha | Dancesport
three side chassis cha cha one two three and champion one two three and champion one and two
three and cha cha one now if we now try to count the steps have you ever
tried to counter these eight pounds no what we do there is that we still count
so we count the half piece so we will still go one two three four five six seven eight one two
three four five six seven eight one two three four five six seven eight one two three four five six
seven eight one because what that does it gives an exact count on my action which i'm interested in
yeah so if we started here i would have five six seven eight one is my step one on the two we have
to now produce an action that will create a step so on the two i exactly do a rotation of my hip
going backwards towards the heel of my foot direction of my foot i only dance
in the direction of my feet so even if i do a rotation what am i rotating around
rotating around my spine that's the center of my foot
yeah now my hip is going back if i'm in the front of my foot it's going back in the direction
of my heel so it goes back to the center of my foot
that's the direct eye it's not going around
it's actually going directly back and i'm creating a rotation around my spine
while i'm doing that my weight is still traveling forward so there's three things happening here
yeah a right through the foot hip is going back towards my heel direction of my heel as i'm doing
that my weight is still traveling forward so this is the first time when you realize that there's
a big difference between my hip action and my weight transfer because we don't have time to go
forward back forward back forward back but we want to slick hip action so the outside of my hip
goes backwards while the inside of my hip still continues in the direction where i want to go
very important in chapter because that's the only way i can get my slick hip action yeah
so that's what happens on the two count so i have one and through this i now have two
two and i keep striving with my weight through the foot on two so the step is sitting on three
now from here i now have to do four connect to that leg again i never do an action without body
weight so even if you see this action what i'm really doing is i'm connecting my weight to the
foot so i can push off i need to connect my weight so i have to push off that step
yes so we will have one two three four now i have to step back five action six
seven eight e exactly yeah one more time guys so we would have one one two three four five
six seven eight eight so even in the half beats where we have seven eight because it's cha cha
we still have actions so instead of just say seven eight i said
because that's set action step action okay so we would have one two three four five six seven eight
one two three four five six seven eight one two three four five six seven eight one and
then you realize how fast the chassis is and how tight we have you know in order to produce that
that the action that is required there because if i have it extremely slow but if we count
one two three four five six seven eight one two three four five six seven eight one two three
four is rather fast yeah but again i'm hanging on to the actions that i want to create not the steps
that i have to catch up on i'm constantly one two two three four five six so i'm constantly thinking
about the actions that produces a slip and time as time step in order to be on time with that cha-cha
yeah let's just try this one more time a little bit faster so we would have one two three four
five six seven eight e so go through that again stem is sick is the weight transfer why is that
why don't we transfer the full weight onto the seven
action then we'll fall because as a side step i can't transfer full weight in a side step
why is that because because my limit of the foot i can't control as much so every time i
take a side step the beginning of it is always split this step verb yeah seven if i go seven
i will fall with that amount of power so i have seven now i have eight each and now i can go
one and then i can actually transfer full foot if i go into a wall because i have the whole
range of my foot so again the main thing of this is that i always transfer my weight onto the foot
that's my goal if i want to go a big step there i would send my foot and now to catch my send
my weight onto the foot i don't send my weight because then i can't control it again yeah this
is quite a big thing because there's a tendency to move a little bit too much in my opinion
movement is not a bad thing if it's controlled and it's decided from the step before so if i
want to move a lot it's decided from my left leg how much do i want to move i now send the lick
so it's ready to catch my weight whenever i scent my weight i see people throwing their weight and
then they can't catch and they're compensating they get sick and they try to hold on to it
instead of actually expressing what they want to show as they're dancing as they're exploring
the range of their weight yeah so let's just go through this one more time we would have one two
three four five six seven eight e and now we're ready to go one two action two three four five six
seven eight eight one one two three four five six seven eight one on exactly because in a in a
basic chassis that's the difference between we do lobster and when we do side chassis both the first
step and the last step of the chassis is the heart rate step so you'll get that's why i'm saying
if i did a lock step i would have sent vern a key one because i can actually change the full
in a forward wall so that's an important thing as well for instance where guys
we do a lot of new york sections we would have a
what not full weight only through them on actually transferring that
weight which would then create the speed to go into the next step yeah
so it's all the quarter beats because that's what i like to see
when i see the cha-cha it's all the rhythmical so or where did that come from because it's it's
danced in my body it stands on the steps and then of course sometimes it's nice to actually feel
a explosion of body weight that suddenly comes but again it starts on how i was actually dancing on
my body and suddenly i'm loading dancing through sending catch segmenting through
so i'm constantly playing with my body weight within the range yeah
it took a long time for me first of all to understand it
take the time to practice that each step is produced by action because it's so
much easier to just done steps once i got them totally i discovered a whole new world
because suddenly all the sounds that i could hear i could actually show
all these rhythms are going and it was frustrating me that i couldn't i couldn't uh express them as
much as i wanted to yeah so first the main thing i want to get out for you guys to get out of this
lecture is that everything starts from body weight and body weight never stops it's always
alive because there's also and this is mainly for the girls actually because of the way we make
choreography these days i often see a lot of girls positioning placing which is fine if the placing
was actually i'm on on a morning never continue but i see position oh i have to take a step
you see all the girls were like oh you have to move that feeling
because it's not time that you actually land into a position how long do i have now
in a position if i have to time them it comes out of the next step so it's important to all the time
know what action i have to do in order to produce the next step and that's where the timing comes in
you have to know your timings of the steps in order to know how much
action which action and how much time i have in order to produce that step yeah so exactly we need
step action step action step transfer action step transfer action step transfer good
now from here again action action step transfer action step transfer action step transfer action
step transfer action step right so it's constantly around my standing leg that i choose to change
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