Hip Design and Movement in Latin | Marina Ferrari

The Italian trainer Marina Ferrari collaborated with the WDSF in producing this learning resource on hip design and movement in the Latin dances. For his short lecture, Marina works together with Saverio Loria and Zeudi Zanetti, ITA, as the demonstrators.
The WDSF wishes to acknowledge the support of Marina and her demonstrators Saverio and Zeudi, as well as that of the the GOC organisers in providing the location in Stuttgart. Without their support, the YouTraining DanceSport programme would not be possible.

[@charlessmith263]

Learning what Marina had explained about "translation", take the forward check action footwork and resultant body translation in the International Rumba. Here are my observations when I do this important school figure myself: 1. There is a cascading translation from the feet all the way to the hips and torso, with the torso going down last as that weighted forward foot checks forward in order to change direction to initiate moving yourself backward. 2. At the end of that forward check, when that back foot now has been transferred to full weight with a rock-back action on that foot from that forward foot, the translation on that forward foot now is reversed, from the foot all the way up to the torso as the lower area and torso finally straighten at the end of the forward check. Now as the back foot has full weight, the same translation results happens to that back foot as if it was forward - the foot drops first, and then the rest of the body - knees, hips, and torso, in order. But still, you cannot rule out correct International rumba technique here even when you use translation. International rumba dictates that the weight be taken on a straight leg, so when doing the translation from up and down on a weighted foot, the leg is straight, and there is only a slight flex in the knees. Also, when doing walks or check actions in rumba, the torso and Big Top Line do not crouch forward and the posture still remains quite straight from hips to the face as if you are dancing the paso - except when you need to bend your body when doing a choreographic element.

[@user-ei8br8be3d]

Very good explanation on a hip movements! But I also hasitate to say that reverse 8 is a fundamental principle. But it was very interesting to discover that hips can move in a reversed manner! Thank you for the lecture!

[@hotaylor4428]

Marina。very good analysis of the hip movement。 At the end of this video， you should clarify that the hip action the inclined 8 is used to provide power for the boy core to drive the moveing leg ，without the hip action the body cannot catch up the leg。That is what judge watching。

[@MrFarangKorat]

Very interesting instructional clip. I learned ”things” here.

[@johninvirginia7779]

Thx Marina

[@twintron4]

Where can i purchase the book she is referring to?

[@dancinglo]

When it is a hip twist, it is a natural 8. Forward walk turning is a reverse 8. However, there is too much activity in the waist and hip. I can't put my finger on exactly where. Besides that, it makes ppl very confused when there are 3 planes of movement and as a result there can only be 3 different hip movements, not 4. One is the combination of two.

[@cruZ8888]

The reverse 8 is unnatural. Even if we turn there is still natural 8 action

[@SergeiGerasymov]

Reverse 8 ??? Are you kidding me?! as a stylish flick, yes! but as a fundamental part of a turn, No Thank you! There is only one 8 when we walk, dance or turn.

[@artemepifanov]

OMG) Marina Lambrogini)) she just nothing know about hip action)

[@Raschel83]

Who is this women? I never heard about her? She seems not very successfully in latin dancing...

[@johninvirginia7779]

Thx Marina

[@johninvirginia7779]

Thx Marina