Bolero
-- Beyond the Basics
by
Kristine & Bruce Nelson
Bolero
is the most romantic of the Latin dance rhythms. And it is also the
slowest (between 21 and 26 mpm). The music is lyrical and generally
has a Latin flavor (often with a vocal) with underlying rhythmic
syncopations. Dancing bolero requires controlled execution with
strong expression. The bodies move together fluidly and even
intimately.
Rhythm The basic rhythm is slow, quick,
quick, (1, -, 3, 4;) which is
similar to both foxtrot and slow two-step rhythms. Some figures may
be danced with 2 slows or 4 quicks, and syncopations may be
incorporated, particularly at Phases 4-6.
Dance
Position Closed
dance position is similar to the smooth rhythms with the woman
on the man’s right side, slightly at an angle, and held slightly
looser than in the smooth rhythms. The joined man’s left and
woman’s right hands may be held up in standard closed position or
held low next to the man’s left leg. The body is relaxed with soft
knees but dancers maintain strength and control in the thighs. Both
dancers maintain good balance and a ‘flat’ back. When in an open
facing position, the partners maintain tone in the connected arms to
facilitate leading and following. While dancing bolero the partners
often make eye contact, which enhances the romantic expression. The
free arms are an extension
of the body and may be held to the side, side and slightly back, or
raised, following the movement and the body line.
Movement Body weight is centered over the
weighted foot. While maintaining
good balance, the body moves to the side, forward, or back through
the legs. There is the feeling of a controlled push or drive from
the weighted foot to the free foot. The turning and break figures
may utilize left and right sways. There is definite shaping to the
partner. Because of the smooth leg movement, hip action is minimal
but may occasionally be used to accent a figure.
Footwork Bolero utilizes more rise and fall
than in foxtrot. The action is
developed in the leg and body, not the foot and ankle. The basic
figures start with a side step (S), pushing off from the weighted
foot and staying low until weight is transferred, where there is
significant body rise (allowing the dancers to achieve strong
balance and enabling the next step to be taken in any direction). The
second (short) step (Q) is a taken on the ball of the foot
quickly and smoothly lowering. The third step (Q) is usually taken
in the opposite direction of the second step with the body staying
low and well into soft knees. This is not
a recover step. It is a longer step than the second, pushing off and
driving from the weighted foot, and remaining low so one is ready for
the next figure (which starts low and ends with body rise at the end
of the first step, etc.). In general, we do not collect the free leg
directly under the body on the third step as it will tend to cause an
early or premature rise. It is important to emphasize the SLOW
(Slo-ohhh) step which allows dancers to attain a good rise. A
teacher may suggest to dancers that they visualize an ocean wave as
it starts low, rises to a crest (step 1 - S), and then quickly falls
down (step 2 Q) before receding to begin the cycle again (step 3 Q).
Lead/Follow
Commitment
to active leading and following is particularly important because of
the slow bolero tempo. It will assist the dancers to maintain good
control and develop continuity and fluidity. The lady must not
anticipate the man’s timing. As the man initiates movement, the
lady responds and blends her actions to his. The result is the
feeling of moving as one person.
The
man’s body is the primary lead. The man points his body where he
wants the lady to go. Her role as follower is to move when the man
moves and travel to where the man’s body is pointing.
The
joined hand(s) are an important secondary lead, especially through
turns and passes. Both dancers must maintain tone in the joined arms
to have a connection through which the lead can be communicated and
received.
Practice
some bolero figures --
Basic:
SQQ; SQQ;
Emphasize
the initial pushing action to step side with strong body rise, the
slip action (forward or back) lowering and the forward or back step
staying low in soft knees. Practice
the Basic
in butterfly or open facing position to develop a strong lead/follow
connection through the joined hands. In addition, practice the
forward and open breaks.
Aida: SQQ; S
Note
that the Aida, defined by Roundalab, is 4 steps (1 ½ measures) and
is cued Aida (not Aida preparation). Side L (R), -, through R (L),
side L (R); turning RF back R with rise (turning LF back L) in a V
shape (Aida Line position), -. The figure may be danced in the
opposite direction with opposite feet. When the dancers are in an
Aida Line position, the remaining QQ is often danced hip rock 2. The
next slow may be forward or back to face the partner and begins
the next figure.
Practice
sequence:
[CP] Basic;; Aida; Line
w/hip
rks; Swtch X; Hip Lift;
Turning
Basic: SQQ; SQQ;
First
measure: [CP
Wall] Man side
L with slight RF upper body turn [the L foot ends pointing DRW] (W
side & forward R keeping body position and head to left), -,
rotate turning to face LOD and slip back on R toe then lower to heel
(turn & slip forward on L toe lowering), drive forward L staying
low with soft knees turning ¼ LF (back R). Optionally on first side
step the man may have a slight L sway [R side stretch] to open lady’s
head. The lady must maintain body position and only turn her face to
R.
Second
measure: Man
side R (side L), -, developing contra body movement on the second
step with the right side leading [L side back] forward L lowering
(back R), stay in knees back R (forward L). Maintain normal bolero
rise and fall, staying into the knees (no rise) at the finish of the
figure.
Practice sequences:
[CP] Basic;; Turning
basic;;
[BFLY] ½ Basic; Hip lift;
Turning basic;;
Left
Pass: SQQ;
Although
some of the action is similar the Left Pass is not a Cross Body. The
man’s action is similar to the turning basic but the lady’s
action is more like a hip twist with a wrap. Man steps side and
forward L and leads the lady forward to wrap into his L arm (forward
R swiveling on R foot), -, lower and slip R back turning LF leading
the lady across keeping the L hand in front of the body (forward L
across in front of M turning at the end of the step to face M),
forward L (back R). The lady must have tone in her R arm to allow
her to follow the lead. She should not turn herself but follow the
man’s hand.
Practice sequence:
[BFLY] ½ Basic; Forward
break; Left side pass; Forward break;
Right
Pass: SQQ;
Man
turn 1/8 RF and step strong side L leading the lady forward and
raising the joined lead hands high and to his left causing the lady
to shape to him (forward R), -, small back R turning as needed for
ending alignment [from ¼ to ½] leading lady forward (forward L
turning LF), stay in knees forward L (continue turn back R).
Practice sequences:
[BFLY] ½ Basic; Forward
break; Right side pass; Forward break;
[BFLY] ½ Basic; Forward
break; Right side pass; Forward break; Left side pass; Forward break;
From
clinic notes prepared for the ROUNDALAB Convention, 2009, and
reprinted in the Dixie Round Dance Council (DRDC)
Newsletter, September 2015.
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