The Natural Spin Turn | Ferruggia - Koehler | The WDSF Academy

[@myblrblr3976]

Thank you very much for break down of each step. I love your way of teaching

[@rogelee-TW]

2:45, 3 types of rotation, Rotation for lightness, Rotation for dynamics, Rotation for lead. 5:00, 3 types of sway, Cosmetic Sway , Technical Sway, Released Sway

[@annekepoort]

Where is the Released Sway in this part? They do not explain.

[@diogofarinha295]

@@annekepoort there is none

[@catherine5238]

Good!

[@KeithMorris27753]

This is an article I wrote some time ago about the spin turn. By Keith Morris. I have found over the years one of the most difficult steps to dance and teach is the humble spin turn. Or to be more accurate a pivot turn or pivoting action. For ease of musicality I have chosen the 3/4 timing of the English Waltz to help describe my observations of this step. The fourth step of this commonly used figure is for me, greatly misunderstood. Every dancer from bronze medallist to seasoned competitor performs this figure to a greater or lesser degree of competence. We have a number of actions to consider when performing this popular step. Body flight, weight distribution, foot work, rotation and direction. First of all we have to decide how we start to move. Is there any such thing as a backwards step? I firmly believe that in Standard dancing there is never a backwards step! I realise this may raise an eyebrow or two, so let’s look at the mechanics and consequences of (stepping backwards) that have brought me to this momentous decision. If we get into the mindset of stepping backwards whatever the step or dance then the body, or shoulder weight takes over and the movement becomes uncontrollable resulting in the heel lowering to the floor too early, and we end up unable to rotate efficiently. Therefore I only ever consider placing my foot behind me by extending the left leg backwards from the hip, leg and foot, at the same time bending the supporting (right) knee. This leaves the weight in a forwards position as described in most technique books. As we place the foot behind us the toe is turned in slightly. At the same time the right shoulder is rotated slightly towards the left foot (CBMP). Now in this position we can quite happily change the direction of our movement. It’s the action of CBMP which starts the transition from backing line of dance to facing line of dance. A change of alignment or directional movement. You will no doubt notice at no point have I referred to turn. This because I prefer to think of changing the direction in which we move rather than turning, the reason being I feel that when we try to turn we usually twist the body off centre. This will inevitably result in loss of contact with our partner and broken body lines. It’s the placing of the moving leg / foot behind and joined with the action of the opposite shoulder / side of body moving in the same direction that starts the rotation of the upper body to enable us to change the direction of movement. In essence by placing the foot behind us and not stepping back we should retain the weight in a forward position. Most authors of the written word of dance agree that the foot work of the left foot is :-toe, heel, toe on this the fourth beat. The first three beats being 1-3 of a natural turn. Now the question needs to be asked at what point is the heel lowered and subsequently released ? If the weight is dropped back the heel lowers at the start of the 4th beat of music. The consequence of this is that the foot is flat on the floor thus affecting balance and movement. Also it will reduce any efficient rotation on the standing foot. If the weight is maintained in a forwards position then the heel will only touch the floor at the end of the 4th beat of music as the dancer is moving off thus acting as a spring board to help the forward progression of the body. On the 5th step we have a strong forward action on the heel continuing through to the toe creating a soft but strong rising action through the foot and leg. The more advanced exponents will, at this point have a slight right shoulder lead created by the transition from CBMP. This will result in a hovering action allowing his partner to extend upwards and outwards (not backwards) but that’s another story. The “extra” time being taken from the 6th step, is merely a collection of the weight onto the left foot / leg being placed behind and slightly to the side, then a softening through the knee and ankle occurs to produce a controlled lowering. From the beginning of the 4th step to the start of the 6th the distance between the feet is set like a compass or calliper and should not change throughout the execution of all three steps. Keith Morris, October 15 2011

[@bobwright3438]

Thanks Keith

[@POLMAZURKA]

rewrite this not as a continuous paragraph...

[@catherine5238]

Wow,so detail.

[@KeithMorris27753]

@@POLMAZURKA it wasn’t on the original script the app made it like this sorry

[@catherine5238]

@@KeithMorris27753 I see. But still thanks.

[@dwdanceStudio]

using ISTD and IDTA

[@bobwright3438]

thanks

[@tedvangageldonk7698]

I barely see them doing anything when explaining the types of rotation. Can someone explain this for me?

[@zagranichnaja_zhizn]

I find this instruction not clear. The Natural Spin Turn is for me the most difficult figure in standard dancing (always was, is and probably will be) - I try avoid it in all the programma's, if possible....if my partner agree (mostly, agree, because it is always was problem). (I dance S-class Senior) I spook with many known teaches about it, and no one can teach me to dance it! Also Ferruggia - Koehler are not clear for me! I spended a lot of time and money for this figure - without any result! It is just NOT my figure...

[@Vampyrius]

For a simplified version, search for eglis smagris. His Demonstration of a Natural Spin Turn is very Simplified and maybe could help. Otherwise, try not to see it as a full figure. Instead they are 3 Figures in one. The first 3 steps are a simple Natural turn (Right foot forward facing Diagonally to wall -> Left foot to side backing diagonally to center -> left foot closes to right foot backing Line of dance. You got a Contrary body Movement on 1 a 1/4 turn to right between 1 and 2, and 1/8 between 2 and 3). The second Figure is a Pivot with 1/2 turn to right, starting with step 4 (Left foot back, down line of dance but with the toe turned in). Try to turn the toe in as much as possible (pointing Diagonally to center is great) but just point with the tipp of your toe. As you transfer the weight on the left foot, try to keep the direction of the pointing toe and let the body turn itself in this direction. This will help you to end facing line of dance with 1/2 turn. The footwork is Toe Heel Toe (Toe turned in, heel should be in contact with the floor during the turn, toe to push yourself forward on step 5) Step 4 is ending facing line of dance.There is NO rise during the Pivot. So far so good and now comes the hardest part, the Spin Turn itself. Step 5 is taken Right foot Forward in CBMP (contrary body Movement Position (right foot stays in Line with left foot)) facing Line of Dance. BUT instead of comence to rise at the end of 5, you need to RISE end of 5. Its like a rocket at a lift off. As you can see in this Video, the lady having brushed her right foot to the left foot, bevore moving diagonally foward. Without youre rise on step 5, it will almost impossible for the lady to do a good brush + the balancing for her will be pretty hard.Try not to push yourself upward during the rise. It is easier to try to roll over your toe (Moving forward still facing line of Dance). The last step (6) is taken left foot to side and slighty back with a turn of 3/8 to right, which will end you backing diagonally to center. Because tof the rise of step 5, the rise and fall of step 6 is UP (Toe) and lowering at the end of 6 (Heel). Just as a reminder, CBM on 1, sway to right on 2 and 3, CBM on 4, CBM on 5 and ending straight on 6. i am not a professional dance teacher, just a "student" teacher. Hope i could help you. If needed, i could try to upload a Video as well with a non preofessional demonstration.

[@3mtanzsport291]

I absolutely agree with you! I'm teaching it but not as a pivoting action. Instead I teach it as a change of place. That's something you do not want to try but beginners look much better with it. I wouldn't want to miss the spin but I guess i will never get it right.

[@POLMAZURKA]

SAVE OUR CULTURE BY DOING OUR OWN DANCES. THE LIST OF MY EUROPEAN - POLISH DANCE BOOKS, ESSAYS AND VIDEO - ESSAYS ARE: A BEAUTIFUL POLONEZ - POLONAISE ILLUSTRATION; A BETTER VIDEO - COPY; AN INTRODUCTORY REMARK; AN EVALUATION OF OLD FILM POLONEZ-POLONAISE AND MAZUR-MAZURKA DANCES ON YOU TUBE; BAD BEHAVIOR IN A POLONEZ - POLONAISE; CHIVALRY AND GENTLEMANLY HONOR IN THE POLONAISE AND MAZUR; DANCES AND FOLKLORE OF ZYWIEC; KORZENIOWSKI; LONGEST POLONAISE ON FILM; MASS FORMATION DANCING; MONTE CRISTO POLONAISE; O HOW SPLENDID; OLD “HAŁKA” FILM POLONAISE ON “YOU TUBE” 2012; OLDEST POLONEZ ON FILM; POLONAISE ARMS; POLONAISE SEPARATIONS; POLONAISE STORY OF A DANCE; THAT BENDING POLONAISE; THAT ROCOCO-CLASSICAL POLONAISE RE-VISITED; THE POLONAISE IN EARLY 19TH CENTURY ENGLAND; THE SOCIAL BALLROOM POLONEZ - POLONAISE AND MAZUR - MAZURKA MAN - PRELIMINARIES; THE SOCIAL BALLROOM POLONEZ - POLONAISE AND MAZUR - MAZURKA WOMAN N - PRELIMINARIES; THREE POLONAISE PICTURES; TO THE READER ABOUT THE CD; TWO POLONAISE PICTURES; YOU TUBE POLONAISE AND MAZUR ON YOU TUBE; A BETTER HOLLYWOOD FILM THAN THE BOOK!; A LADY’S CURTSY AND A SURPRISE MAZURKA; A PROCESSIONAL POLONEZ; A GERMAN ANNA KARENINA; AN INTRODUCTORY REMARK; ANNA KARENINA -PART TWO!; CHOPIN POLONAISE AUSTRIA; 1888 A GUIDE BOOK TO SAINT PETERSBURG; 1914 DATE CORRECTION RUSSIAN MAZURKA CLASS; A LADY’S CURTSY AND A SURPRISE MAZURKA; A LOOK AT THE ORIGINAL MESTENHAUSER; A SKETCHY SUMMARY STEP; A WONDERFUL DISCOVERY MAZUR; A MAZURKA DANCE MEMOIR; A SOVIET -- RUSSIAN SUPPLEMENT FROM 1935; AN ASPECT OF THE 19TH CENTURY MAZURKA IN ENGLAND; ENDING A RUSSIAN MAZURKA; EXCERPTED NOTES FOR THE SLIDING; GERMAN MANUAL MAZURKA SOURCES; HOW TO USE THE AUDIO MAZUR WORKBOOK AND HOPEFULLY HAVE AN AESTHETIC ESTATIC EXPERIENCE; ITALIAN MAZUR-MAZURKA DANCE MANUALS; MAZUR STEPS SOURCES WORKSHEET; MAZUR FIGURE PUZZLE; MAZUR THE ELEGANT...; MAZUR-MAZURKA THE BRILLANT DANCE; MESTENHAUSER'S UNBELIEVABLE TABLE OF CONTENTS; MESTENHAUSER'S POPULARITY...; MOJA PRZEPUSKA; NEW ENGLISH MAZURKA SOURCES 1830; ADOLF HITLER, GRETA GARBO, POLA NEGRI, AND THE MAZURKA DANCE; ALEXANDRA PILSUDSKA AND POLISH DANCES; AN INTERESTING HUNGARIAN DANCE NOTE; AN OPEN LETTER CONCERNING THE OFFICIAL MAZUR FIGURES OF BY THE TANCE POLSKIE DIVISON OF CIOFF; ANOTHER REGRET OF MINE; CWIEKA'S UNFINISHED BOOK REVIEW; KORZENIOWSKI; ONCE AGAIN; POLISH DANCE IN THE CONFEDERACY; POLISH DANCE AND THE POLISH GOVERNMENT--A NAIVE ATTEMPT; PRIDE AND PREJUDICE; THE “UGLY” HAND POSTION OR POSE FOR MEN; THE GENERAL CIRCLE FIGURE FOR THE MAZUR - MAZURKA; THE VERY SEXY ZOUK DANCE AND THE MAZURKA; THE AUSTRIAN EMPEROR, GALICIA AND THE KONTUSZ; WHAT WORD; WIENIAWĄ; WORKS CITED; ZPiT MAZOWSZE; DANCES AND FOLKLORE OF THE ZYWIEC TOWNSPEOPLE; GERMAN MAZUR-MAZURKA DANCE MANUALS; ITALIAN MAZUR-MAZURKA DANCE MANUALS; MAZUR THE ELEGANT POLISH RUNNING-SLIDING DANCE; MAZUR-MAZURKA THE BRILLIANT GLORIOUS DANCE; MISCELLANOUS; POLISH MAZUR-MAZURKA DANCE MANUALS; RUSSIAN MAZUR-MAZURKA DANCE MANUALS; SIMPLE ANALYSIS OF SOME PICTURES OF THE PZDP; SOME MORE MISCELLANOUS NOTES, FRAGMENTS, ETC. ABOUT THE SLIDING-GLIDING STEP FINALLY DONE 2007; SOME ORIGINAL POLISH SOURCES IN THE POLISH LANGUAGE; SOME ORIGINAL RUSSIAN SOURCES IN THE RUSSIAN LANGUAGE; SUPPLEMENTAL POLISH MAZUR-MAZURKA SOURCES; SUPPLEMENTAL RUSSIAN MAZUR-MAZURKA SOURCES; SUPPLEMENTAL AUSTRIAN MAZUR-MAZURKA SOURCES; SUPPLEMENTAL ENGLISH MAZUR-MAZURKA SOURCES; SUPPLEMENTAL FRENCH MAZUR-MAZURKA SOURCES; SUPPLEMENTAL GERMAN MAZUR-MAZURKA SOURCES; SUPPLEMENTAL HOLUBIEC COUPLE-TURN SOURCES; SWEDISH MAZUR-MAZURKA DANCE MANUALS; THE ELEMENTS OF AND THEIR COMBINATION IN FIGURES FOR POLISH FIGURE DANCING; THE GORALSKI DANCE WORKBOOK; THE KRAKOWIAK DANCE WORKBOOK; THE KUJAWIAK DANCE WORKBOOK; THE MAZUR-MAZURKA DANCE FIGURES AUDIO INSTRUCTIONS WORKBOOK; THE OBEREK DANCE WORKBOOK; THE ZYWIECKIAN MAZUR; MAZUR THE ELEGANT...; HOW TO BEGIN THE SOCIAL BALLROOM MAZUR - MAZURKA; THE LOST GLINKA MAZURKA VIDEO PART II; ALL POLONEZ - POLONAISE VIDEOS AS ONE DOCUMENT; ALL MAZUR - MAZURKA VIDEOS IN ONE DOCUMENT; DOWNTON ABBEY AND WHAT MIGHT HAVE BEEN; PAS GLISSE ACTIONS. FOR EUROPEAN/ POLISH SOCIAL BALLROOM DANCES: POLONAISE AND MAZURKA ESSAYS, VIDEOS AND INSTRUCTIONS: GO TO THE INTERNET AND SEARCH FOR: ACADEMIA.EDU………..RAYMOND CWIEKA TO VIEW THE VIDEOS PASTE THE VIDEO - WORD - ESSAY TO A WORD DOCUMENT AND THEN CLICK & PRESS THE CTRL KEY ON THE VIDEO. ORIGINALLY THERE WERE SOME 47 BOOKS AND ESSAYS OF MINE BUT THE SITE OF ACADEMIA.EDU HAS SEEMED TO MISSPLACE MANY OF THEM SO YOU SHALL NOT BE ABLE TO VIEW THEM. AGAIN, HOPEFULLY THIS SITUATION WILL BE CORRECTED.

[@dedog2003]

why do you wear headsets if you are just going to talk about the other person's part? Isn't thepoint of the headset so you can talk while showing the dance. Wouldn't it make more sense to teach your own part instead of your partners? weird...

[@bobwright3438]

Hey, it is Free, why are you complaining