Saturday 30 September 2023

Four Lakes Dance Walk

 Four Lakes Dance Walk Video

at

Tuesday 26 September 2023

10 Day #Gaga Challenge


Day 1

You’ve likely heard our teachers ask you to float in Gaga class. Remember the last time you floated in a pool or in the sea? When we float in the studio (or in our living room!), we connect to that same sensation and negate gravity on a molecular level.  


You may have also heard us asking you to collapse. Collapsing is related to gravity, so the direction of a collapse is always down. 

If we fully collapse, we are shaped by gravity. But in Gaga class, we often collapse or fall into movement. We yield to the force of gravity and then eliminate the falling time so we can move in any direction - left or right, forward or backwards, even up. 

Play today with floating, collapsing, and falling into movement. Want one more gravity-related challenge? Change the position of your body parts in relation to the vertical axis (fold your torso forward or sideways, lift your leg, or move your arm around), and sense the way gravity slices your body in different positions. 

Gravity will always be down, no matter where you are - but you may sense your weight and your effort differently as you move

Reflection

I thought it would be a good idea to share Gaga with my PHE class. I will not be sharing Gaga with my other PHE class. I don't think they get it. I don't think they are into it. I set it up in the theatre with the projection. There weren't any online links available and I didn't sign up for a class, so I didn't have a recording. I used one from YouTube. Some kids did pretty good at the start. They did the shoulders and the hip circles. They even sped it up a bit. Then they started to drift off into the theatre seats and onto their phones. This meant that I had to drift off and support them back onto the stage. We got in just over fifteen minutes. It wasn't too bad. However, it wasn't like my dance class last semester when we did a bunch of the online classes. So, that means I didn't get to focus a lot on the idea of gravity. I didn't get to enjoy the float or fall into the movement, because I was focused more on the kids. Tomorrow, I will not dance with the other class. I will dance in my spare. I will move and enjoy Day 2's focus on my own. 

I wasn't sure I was going to be able to fit this into my schedule. I am glad I am making time for it. I can dance for a half hour, for ten days. I look forward to these explorations. I am also looking forward to editing and creating ten videos. 

Day 2

There are lots of textures in the world, though in Gaga class we usually refer to thick and soft textures of our flesh, with all the gradations in between.  

Connect to thick texture by imitating a bodybuilder. Show your muscles while grabbing your bones for movement. Now let go, melt, and get softer. Can you mix thick and soft textures together? 

Texture can also travel, with different levels of thickness that can make their way through our flesh. To research traveling texture, make a thick fist in one hand. Now let that thick texture leave your hand and enter your forearm … and move to your upper arm … and to your shoulder … and to your chest … 

Here’s one more texture-related task: taste something good in your mouth (if you’re not in class, you can research this with something really delicious!). The pleasure of taste often connects to texture, and it transmits into how we experience movement. 

p.s. Heads up! On Sept. 28, Day 3, our 6pm TLV | 11am NYC class will be followed by a chat. We encourage you to register & join us live or view the recording. If you’ll be with us in real time, we welcome your questions from the 1st few days of the challenge.

Reflection

I danced in the studio today. I had the lights low and the back door open. I was struggling with the music/sound connecting to my computer. I restarted and tried different speakers but it still didn't work. I didn't have a lot of time to mess around, so I just used the computer speakers. I did not project or anything today. Note to self to take some real time and figure out what is going on with my laptop and sound. 

Today's class was lead by Ohad Fishof. It was from when I was sleeping and I had the link. He spoke and related a lot to texture. It made it easier to connect with the task and focus of the challenge. 

About half way, I went and turned the fan on. The sound was loud and drowned out some of my focus for Ohad's words, but the wind was enjoyable to play in. I moved closer to the computer and sound and away with what I thought were new tasks and ideas but took longer chunks of time turning my focus inwards and away from the instructions in between. 

Memorable words/ideas: 
  • using the mouth and tasting something, then moving that feeling of movement to other parts of the body. 
  • finding texture in each finger and moving up the forearms and into the shoulders
  • Opening and closing the shoulders
  • The floating after the strong muscle man postures/explorations

Day 3

Stretch. It’s a basic concept, and you may have encountered it in other workouts. But what are we actually doing when we stretch in a Gaga way? We grab our bones while letting go for movement, and we create oppositions. We continue to change the distance of our body parts, and we discover the elasticity of our flesh and skin. And we enjoy the pleasurable sensations we receive from our stretching, which is endless.

One way to connect to stretch is with a yawn. Imitate a yawn (or if you’re tired, just let it happen!). Notice how you stretch the skin and flesh of your face, while letting go in the joints of your jaws. Bring this quality into other parts of your body, and enjoy the pleasure of stretch with a sense of plenty of time (we don’t yawn quickly, now do we?).  

Here’s some homework: play with stretching while researching different textures. Do you need a certain amount of thick texture to find your stretch? 

Reflection

I danced with Courtney Scheu. I danced in the theatre with the projection big today. Ren joined me at the end during the fast and funky part. I knew she couldn't sit and do her work the whole half hour. I knew she would get up and groove with me. That made me happy. 

There was a lot of focus on stretch. Courtney kept returning to the focus, which made it easy to explore more deeply. I stretched through the fingers. I poked parts of my body and stretched them apart. I tried to separate my ribs into different chunks pulling them in different directions. I played around with the pelvis. I also got a little groovy and moved a little faster. We twisted our bodies and stretched our upper body behind us in both directions and then down and up and twisted. We stretched our toes - even in our shoes. Courtney use the words massage to talk about the feet and the floor. 


Day 4

“Let it go, let it go, don’t hold it back anymore…” No, we’re not talking about the Frozen kind of letting go. As with everything in Gaga, letting go is a physical action, of softening and releasing tension or excess force.  

Letting go is related to collapsing (hi, Gaga challenge day 1!). We cannot collapse without letting go. Try it - you’ll discover that you need to soften your flesh and around your joints.  

Besides collapsing, there are many actions and concepts that can help us find letting go. Shaking, small gestures, the delicacy of your skin and the movement of your joints, your soft seaweed spine … 

What helps you connect to the action and sensation of letting go?

Reflection

Today was a pro-d day. I danced after the workshop in the theatre again. The Gaga teacher's name was Hsin Yi Hsiang. I enjoyed her tasks and we were matching in greens. 
  • arm swings
  • spinning 
  • circles with upper body small to big
  • no arms and only lower body, holding arms tight to body
  • eyes closed and then open
  • child like - don't care
  • free

Day 5

Speed. Here too we have a spectrum, between slow and fast, and we want to challenge (yes, challenge!) ourselves to increase our range and go over the top - especially when it comes to the fast end of our speed. Do you have a default speed when walking or dancing? Notice your habits, and try moving slower and faster than your regular pace.  

We can also play with moving faster than gravity. First, recognize the speed of gravity. Drop a small (non-breakable) household object and notice the speed with which it falls. Now try this with your right arm, your left shoulder, your chest, your pelvis. And now move faster than this speed. If you found a default speed before, this should help you find a new option.  

Even when we’re moving at high speed, we want to connect to a sense of plenty of time so that we’re not rushing. Yes, it’s possible! Exercise this by starting with a slow walk, or a slow dance, and sense that there’s plenty of time. Keep this sense alive as you rev up to a medium speed and as you ramp up to high speed. Once you’ve found this, it’s yours to use in daily life. Running late to an appointment? No sweat - move fast, but keep the sense of plenty of time.  

Reflection

Day 5 I did the dance walk around Four Lakes with a sore throat. I thought I would dance today, Sunday, but I am still feeling sick and really tired. I have decided that I don't have to rush through this challenge. I want to feel good when I am moving. I am still signing up for the classes and downloading the videos through the recording link. I will complete them all in my own time. No pressure. 

This morning I explored speed with Hsin again. I loved watching her move with her shadow dancing behind her. She has a beautiful smile and I find her an easy leader to follow and move with. I appreciated: 
  • feather hand
  • feather shoulders
  • inside seaweed
  • inside the telephone cord

Day 6

“I always thought of Gaga as an act of strengthening our engine. Life is heavy; carrying its weight is hard. By strengthening our engine, this weight becomes lighter, easier to lift. Instead of eliminating this weight, which is impossible most of the time, we learn to better deal with it.” 
- Ohad Naharin 

The metaphor of the engine in Ohad Naharin’s quote takes physical form in his movement language. Our engines are the hardware of our body. They always involve flesh and generally involve bones and joints. Whereas a car has just one engine, we have many - and we too can ignite them. The ignition of our engines connects to our nervous system and our readiness to move on a cellular level. Just like a car that is waiting at a red light but will accelerate once our foot hits the pedal, when our engines are ignited, we are ready to spring into action. 

When our movement requires great effort, we can spread the effort across many engines. Carrying a heavy bag? Use many engines in your arm, your chest, your back, your abdomen, even your legs. 

We can also connect to the idea that our engines are stronger and capable of more than what we are doing. Running and want to accelerate? Feel your engines are like those of a motorbike … and those of a bullet train … and those of a jumbo jet. 

When our bodily engines are stronger and more of them are engaged, we can indeed find that the weights in our life - physical and perhaps otherwise - are easier to lift.   

Day 6 Video

Reflection

Day 7

When we move, we’re often using our own forces, our own engines. We make decisions about the type of movement we make and its direction, as well as the amount of effort we exert. In Gaga, we also use other forces, which are real and imagined forces different from the forces we choose and create. Gravity is one example of an “other force;” so too are horizontal forces - the force of gravity translated into the horizontal direction. 

Some other forces - gravity, horizontal forces, and forces ignited by images like wind, waves, or a bumpy road on which we’re riding - are external forces, forces which act on our body from the outside. 

Other other forces (ha!) are internal forces, which act on our body from the inside. Think hiccups, an uncontrollable laugh, or a quake in our pelvis.  

When we mix our own forces, external forces, and internal forces, we can play with the volume of each element. Sometimes the other forces help us amplify our own force, while sometimes these forces work in opposite ways. We call this a happy conflict. Experiment with this happy conflict in your next classes - let it color your movement, making it more surprising, textured, and richer. 

Day 7 Video

Reflection


Day 8

Our skin is the largest organ in our body, and it is full of thousands of nerve receptors which receive information about heat, cold, pressure, and pain. We’d also like to think our skin can help us connect to our pleasure, especially when we tune in to its sensitivity and delicacy.  

In Gaga, we use our skin to connect to the sense of the whole. Imagine (or rather, sense!) that your skin is like a suit covering your entire body. Can you use it to connect to all of you?  We call this kuli, and this term, like other Gaga-specific phrases, offers a shortcut to attend to this inside a range of tasks. Try for yourself - bring curves everywhere, brush your skin against your clothes and the air, and enjoy the delicacy and sensation this brings to your entire body.  

With our skin, we also sense the distance of things, especially those things which are far away from our body. If this sounds abstract, make it real by going outside and sensing the heat of the sun on your skin. Wherever you take Gaga Online, try using your skin to sense the distance between your body parts themselves … between your body and the walls … and even beyond the walls to what you see outside. Can you receive from afar, and also send from your skin to far away places - perhaps even to your teacher and fellow Gaga movers?

Day 8 Video

Reflection


Day 9

Flow. This word has different meanings in a variety of contexts, from natural phenomena to physical practices, from psychological research to various work settings. In Gaga, we talk about a few interconnected but distinct types of flow, including the flow of energy and the flow of movement.
 
The flow of energy creates the difference between dead flesh and being alive, and it involves pulses of energy that travel through us in all directions. 

The flow of movement happens inside the body and requires us to change positions - that is, to move. Create waves through your arms, and up and down your spine; the wave should travel continuously, with a clear flow of movement.  

Whereas there is no flow of movement without moving, we can sense the flow of energy without moving. Try it for yourself: dance around your space for a minute. Now stop and sense the flow of energy inside your body. It’s as if our insides are like a moving body of water, rather than a still pond. Find this challenging? Connect more to letting go.

In Gaga class, we move all the time. We also revel in the pleasure of movement, which is nourished by the flow of energy.  

Even after this 10-day challenge is over (almost, but not yet!) keep moving. Keep sensing the flow of energy. Keep connecting to the pleasure of movement. We welcome you to continue to research with us in class and to research on your own, in your daily life. It’s endless.

P.S. On Oct. 5, Day 10, our 6pm TLV | 11am NYC class will be followed by a chat. We hope you can join us - ideally live - so we can reflect together in real time on our challenge journey!  

Day 9 Video

Reflection



Day 10

If you haven’t noticed, “available” is one of our favorite words in Gaga. But just what is availability?  

We can understand availability as a state of mind that opens up the scope of possibilities, a state of being in which we are available for anything. On a physical level, when we reference availability in class, we want to be available for the movement that we are not doing.  

Our availability connects us to the animal that we are and to a sense that we are ready to snap. Imagine a cat who is lounging around. In a split second, that cat can spring up and leap into action. 

Let’s be like this cat. Let’s be available. When you’re next sitting in a chair, or standing still, feel ready to move. And when you’re moving, be available to snap into a new direction, speed, size, texture - to move all the ways you’re not moving. 

Reminder: catch the conversation directly following the Gaga/metodika class at 6pm TLV | 11am NYC class. We hope you can join us - ideally live - so we can reflect together in real time on our challenge journey!  

Day 10 Video

Reflection

at

Tuesday 1 August 2023

Sea to Sky Dance Collective Summer 2023: Foreign Bodies

I had three weeks for research and development. I can't believe we got this all done in three Sundays! I spent some weekends rolling around and dancing at school. I also made formations from home, sitting with headphones on, eyes closed, imagining bodies in space. 

 Foreign Bodies

Links

VIDEOS

MUSIC LINK

FULL PIECE 

TRANSITIONS

Counts

4 - Movement Sequence 1 

8  - 

8 -

8 - 


8 - legs

8 - 

8 - 

8 - 


8 - 

8 -  


8 - sing

8 - single sound comes on 2 / double on &6 

8 - knee is on 2 - no sound

8


8 - Movement Sequence 2

8

8

8


8

8

8 - 

8


8 - Movement Sequence 2A 

8

8  - Movement Sequence 2B

8


8

8 

8 

8


8

8

8 -

8


8

8

8

8


8

8

8

8


8… fading out… 


Lyrics



Be … bend your ear

Work it out

Things you hear

Someone's knee

Clicks just here

Foreign bo  dies

Start to appear


What

What is this

Revealing?

Who are you what

Concealing?

Is this who

Digesting?

(what is it you're…)

Are you what is

Disturbing?

This who are

Occurring?

You what is this

Recording?

Who are you

Disguising?

What is is this?


Fee … feel the bones

Nothing bro ken mo bile homes

With each sound

In this skin

For eign bodies start to b egin


What

What is this

Revealing?

Who are you what

Concealing?

Is this who

Digesting?

(what is it you're…)

Are you what is

Disturbing?

This who are

Occurring?

You what is this

Recording?

Who are you

Disguising?

What is is this?



Li… listen here

Hear yourself

In things you hear

Someone's neck

Clicks just here

For eign bodies

Start to a ppear

Ideas

  • Solo to pyramid group feeding in… adding to the different rhythms with different accents on the same movement pattern? 

  • Or other formation traveling group bowls through taking second group with it and leaving solo

  • Can the first space be the body that people to through - certain moves? 

  • When she sings, travel groups stops, looks before and then she sings and they bend knees - changing levels and slow (speed)

  • Levels for legs: https://www.instagram.com/reel/CvHO0RlsxFw/?utm_source=ig_web_copy_link&igshid=MzRlODBiNWFlZA==


Exploration Tasks

  • Movement sequence 1: different people, different speeds, same sequence

  • Movement sequence 2: floor part and matching standing part: Movement pattern slow - getting faster like train

  • Partner movement - you go, I go - connect and disconnect, cover and uncover

  • Same pattern - move eyeline and change body direction every 8 - 4 - 2 1? 

  • Can we move at the same tempo and the same level. Change levels. Head can’t pass the line. Limbo line gets lower every 16, 8, 4, 2

  • Movement sequence 3: Upper body, lower body moves the ladder 1, 12, 123, 1234. Meet a partner and join the sequence first partner leaves after 8 counts and joins an empty partner. Traveling step to meet new partner is walking at first.. But change the moves. 


Short Combinations

  •  Movement sequence 1

  • VIDEO LINK for Teaching

  • VIDEO LINK from class

  • VIDEO LINK Walk/Talk Through

  • 0:00 - 1:03 

    • Legs straight up and tight together, feet pointed, laying on back, arms out to side (might add arms in later)

    • 4 bend stretch, strong accent 

    • 4 bend stretch opening legs wide and freeze open

    • R knee: 

      • bend, extend

      • Bend, turn in, extend

      •  Bend, turn in, extend, turn out, extend

    • L knee repeat 

    • Both legs repeat

    • Two counts in wide second before bringing together then flex melt like candle

    • Bring legs back to starting position: legs straight in the air and melt them down like a candle on speed, wiggly jello as opposed to straight and strong

    • Turn to face front, R knee forward in runners lunge, look at floor, then right away on 2 look at audience

    • Stay low, L foot stamps and R arm goes forward, straight strong marching arms

    • Plie slow and switch arms

    • Sautes facing frog

    • &6 head to R and turn body, still sautes

    • Head to audience and saute backwards

    • Head to R wing and run low off stage

  • Movement sequence 2

  • VIDEO LINK 

  • VIDEO LINK Slow Legs

    • 1:03 - 1:30

    • 0:00- knee is slow version of Movement Sequence 1

    • knee - flex feet 

    • Clap,clap - bend knees

    • Clap - bring shape to L side (roll to side)

    • Clap Clap - R arm closes onto L arm straight out from body on floor

    • 1 - open into star

    • Thread R leg under left to flip onto belly

    • Arms cross - uncross by pulling out R arm which pushes up the body

    • Push it out straight and parallel

    • Continue roll to back 

    • R arm and Leg flex and unfold 

    • Roll up to sitting with L knee bent, R leg straight

    • Clap clap - R arm slides back straight and bends with head creepy

    • Come back to switch knees

    • Back roll to L knee forward 

    • Turn to face front: L knee bent and turned out, R leg extended 

    • Flex R foot

    • Bring R foot in to match L knee

    • Extend L

    • Turn to R runners with arms high and lifting in center

    • Lift R knee and return

    • Tuck L knee behind R, R elbow in front and L elbow behind

    • R hand does hand holding a snow globe and broken robot twist 

    • 3 Of those to come to standing in the R leg fwd L leg back crossed at knees - weird position - with Le arm behind and R arm out to the R wavy

  • Movement sequence 2A

  • VIDEO LINK 

    • 1:30 - 1:39

    • Short connector (some people may be travelling into group) 

    • R leg 

    • Body lifts and slides down with L leg lengthening 

    • Extend L arm 

    • Head shoulders, head shoulders, head shoulders, 

    • Bourré with head shoulders wavy arms

  • Movement sequence 2B

  • VIDEO LINK 

    • 1:39 - 2:15

    • R knee

    • L knee

    • R L knee 

    • RR 

    • Straight up with bouncy bourre fwd

    • Down R knee and elbow up down

    • Turn

    • Up down

    • R shoulder roll with R leg in out 

    • R shoulder glissade 

    • Both arms straight up glissade 

    • R should glissade 

    • R elbow leads to turn to corner 

    • Pick up R foot and move to back then back to front

    • R hand goes to head

    • L hand comes under elbow and brings shape center

    • Plie second 

    • R arm sways out with L elbow staying bent

    • Heels and head 

    • Repeat pattern two more times I think

    • Open all up to wide second arms and legs all straight

    • Weave in and out - turn in turn out all wiggly… I will have to go over this and set it.. Then… R wiggle to L… I think

  • Movement sequence 3

  • VIDEO LINK for Teaching

  • VIDEO LINK from class

    • R arm high 

    • L leg out

    • R arm bends

    • L leg lower and R knee bend, L foot flexed

    • L arm bends to join R

    • Parallel 4th plie

    • Arms twist to R

    • Body meets it

    • Drag all in as R arm goes high to continue pattern

  • Repeats in circle 2 counts each move, then 1 count each move

  • Reverse

  • Make your own upper/lower body pattern - 8 counts

  • If time, combine with partner - you go they go - or two groups - back and forth 

  • Movement sequence 4

  • VIDEO LINK

    • 2:38

    • 8 Movement sequence 3

    • 8

    • 8

2:46


  • 8 low swan

  • 8 tall bourres

  • 8 sautes

  • 8 run 

  • 8 shhh - lay down

  • 8 shhh

  • 8 clickity - 

  • 8 - 

  • 8 - down

  • 8 - down

  • 8 - rock roll arm head/elbow

Formations

  • At the end of movement sequence 2B - there are the repeating parts before the in and out - that will be cannoned for people to stop and go into star early

Images didn't copy and paste - you can see the dots if you click the Foreign Bodies title.

Technical Ideas: Costumes, Lights, Projections etc. 

July 16, 2023 5:30 - 6:45: Plan of the Day and Videos

Spotify Playlist: https://open.spotify.com/playlist/2CR3mHzXZY50GEMPGQD8nt?si=42e2583706dd4618&pt=4162ad019340c831b44f1e3e027a3d5d


  • Laying on the floor and waking up different body parts

  • SFT: Standing hip flexor stretch with five way arms 

  • SFT: 3 way sliding hip flexor with overhead reach 

  • SFT: plank step to deep squat

  • SFT: Jumps: 3 D Neural Activation Sequence

  • WALK AS IF:

    • You are stuck up to your knees in thick mud and must get out. 

    • Your body is mist. 

    • You are the sparkling light inside a sunlit prism.   

    • Your body is made of lead. 

    • You are a dandelion seed floating on a shifting breeze. 

    • You are on a crowded street, late getting to work. 

    • You must get through a completely dark and narrow alley at night.

    • You are in a large, spacious park with no ‘have to dos.’ 

    • You are on a very high tightrope. 

    • You are weightless on the moon. 

  • Movement sequence 1: VIDEO LINK

  • Movement sequence 3: VIDEO LINK

  • Cool down: walking, find way back to floor, and relax the body into the ground


Drop In Over 


  • Movement sequence 1: different people, different speeds, same sequence

  • Videos from class

  • Movement sequence 3: Upper body, lower body moves the ladder 1, 12, 123, 1234.

  • Videos from class

  • Partner movement - you go, I go - connect and disconnect, under and over

  • Videos from class

  • Same pattern - move eyeline and change body direction every 8 - 4 

  • Videos from class



SFT EXERCISES: VIDEO LINK


Standing Hip Flexor Stretch with 5 way arms

8 with each arm R

8 with each arm L

(There is a little bit of music left at the end)

 

Begin in a parallel lunge, with front knee stacked directly over the ankle. Make sure back leg is straight. Make sure back leg does not turn out. Close your ribs, pull your abdominals in, squeeze your glutes. Do no arch in the lower back – lengthen the tailbone down.

Repeatedly straighten and then bend into the front knee.

Reach arms straight up over head.

Keeping arms overhead, side bend toward the front leg –

Keeping arms overhead, side bend towards the rear leg

With arms at chest height, rotate towards the front leg

With arms at chest height, rotate towards the rear leg

Complete the entire exercise on one leg. Then repeat on the other leg.

 

3 Way Sliding Hip Flexor with Overhead Reach

*socks for slippery floors or a slider for carpet

8 with each direction R

8 with each direction L

1 in each direction R and hold

1 in each direction L and hold

Repeat 1 more time R and L

 

Detailed Exercise Instruction

Not in the book – from the website.



Plank Step to Deep Squat

8 R foot leads (2 8’s each)

8 L foot leads

 

Detailed Exercise Instruction

Take a straight arms plank position. Keep your neck in the line with your spine by lengthening forward through the crown of your head and tucking your chin in (like you have a double chin). Actively push the floor away with both hands, thinking of drawing your sternum toward your spine. Maintain stability in your shoulders and try to keep your hips level as you move your feet. Step your feet forward one at a time. Then transfer your weight into your feet to take deep squat. Then transfer your weight back into your hands and step your feet back into the plank position.

 

Jumps: 3 D Neural Activation Sequence

16 each way

  • Forward and back

  • Side to side

  • Twisting

  • One foot forward and one foot back

  • Out and in

  • Feet turn in and turn out


July 23, 2023: Plan of the Day and Videos

Spotify: https://open.spotify.com/playlist/4NTqfI6T2w6wxVU2gHXH0r?si=29b23d4c6c474d26&pt=41fe9c476f1a01537f201c0c34729a25


July 30, 2023: Plan of the Day and Videos

Spotify: https://open.spotify.com/playlist/3IidzfRnGxdXFTqzvsNpaX?si=09e54f0fec3c4f88&pt=8962cdd1b211c3042b87af3d26f8eaac


  • Warm-up: 

Roll down, roll up 8/8 Front, Right, Back, Left, return 4/4

Say Yes

Roll down, walk hands out to plank, spiderman push-up each side, hands walk back in, roll up

One Dance

Plie: first, second, R fourth, L fourth, R Fifth, L Fifth: demi demi grande rise rise and balance

The Funeral

Tendus, degage, gb: en crois: 2 tendu, 2 degage, 1 gb (8 counts) End with balance

Lost


  • Review Movement Sequence 1, 2, 3

  • Formations (write names in document) 

  • Movement Sequence 4 - repeated movement sequence motifs - easiest to do this in formations

  • We did it!!!   😍
at
Subscribe to: Posts (Atom)