Tuesday, December 30, 2008

wassup, y'all!

indeed, 2008 has brought tremendous blessings to YDANCE!
realising how much this whole crew actually grows really encourages me loads!
Well, God will surely bring this buncha 'jars of dancing clays'
to a higher level of growth in 2009.
YDANCE's gonna touch lives through music and dance!

a shoutout to ALL THOSE WHO JOINED US THIS YEAR:
Angeline! Caryn! Cleo! Joey! Desmond! Peu! Yi Qin!
Guo An! Joshua! Tzelin! Wendy! Yu Jun!

....and CONGRATS TO ALL THOSE WHO GOT THRU AUDITIONS!

want to say a big,
WELCOME 2 THE CREW, Y'ALL!
[sorry, this is the biggest font size already.]

last shoutout is to BOSS, Jia Li!
heys, without you and your investment in YDANCE, it will not be what it is today!
you rock totally!
we are all honoured not only to be dancing with you in this race,
but to serve alongside with you too!

happy new year 2009, crew!

jarsofclay,
'dk'


wassup, y'all!

indeed, 2008 has brought tremendous blessings to YDANCE!
realising how much this whole crew actually grows really encourages me loads!
Well, God will surely bring this buncha 'jars of dancing clays'
to a higher level of growth in 2009.
YDANCE's gonna touch lives through music and dance!

a shoutout to ALL THOSE WHO JOINED US THIS YEAR:
Angeline! Caryn! Cleo! Joey! Desmond! Peu! Yi Qin!
Guo An! Joshua! Tzelin! Wendy! Yu Jun!

....and CONGRATS TO ALL THOSE WHO GOT THRU AUDITIONS!

want to say a big,
WELCOME 2 THE CREW, Y'ALL!
[sorry, this is the biggest font size already.]

last shoutout is to BOSS, Jia Li!
heys, without you and your investment in YDANCE, it will not be what it is today!
you rock totally!
we are all honoured not only to be dancing with you in this race,
but to serve alongside with you too!

happy new year 2009, crew!

jarsofclay,
'dk'


Monday, December 29, 2008

hey yo! just like to pen down a bit of what lyrical is!

Lyrical!
Lyrical dance is a fusion of Ballet and Jazz dance techniques.
Lyrical dance challenges Choreographers and Dancers to use motion to interpret music and express emotion. A lyrical dancer's movements attempt to show the meaning of the Music. Lyrical jazz is a very passionate and emotional dance style. It portrays certain emotions such as love, and tells a story through every movement made.
Lyrical dance has a relatively recent history and a genesis based on the coming together of ballet with rock/folk/pop/alternative music and a variety of jazz dance styles and modern dance. (To a much lesser degree, punk and swing styles have also been a minor influence.) It is mainly performed to music with lyrics, and the song's lyrics are a driving force and key inspiration for the movement. Choreography is often emotional, gripping, and exquisitely delicate, all at the same time.

Lyrical dance gained its name not because the lyrics of a song are indeed sometimes highlighted over the rhythm, but because of the meaning of the word lyrical: having a poetic, expressive quality; musical; characterized by or expressing spontaneous, direct feeling; expressing deep personal emotions or observation; highly rhapsodic or enthusiastic. Lyrical dance is expressive, subtle and dynamic, expressing emotions through movement. It is a combination of intricate, highly technical, and pedestrian/naturalistic moves. Lyrical dance is often choreographed to a song about freedom, of releasing a sad emotion, or of overcoming obstacles, but can be choreographed to any human emotion-related song. Depending on the given song and choreography, a lyrical piece may or may not be graceful, but will always be expressive and unpredictable, particularly in comparison to ballet and other jazz pieces which may have a more presentational quality.

A solid, ballet-based technique is an essential component of this advanced style of dance, as is a facility with various other forms of jazz, some contemporary/modern dance, and proper placement and bodily alignment. Lyrical choreography is often peppered with intentionally pedestrian moves, amid the more challenging movements, to create a simultaneously organic and dramatic feel. Lyrical is based around choreography and the interpretation of the music. Routines are based around feeling and emotion and, though technique is crucial, spirit generally tells where the dance will go.

Musically, the choreography accentuates and/or flows in correspondence with a song's climaxes, but the choreography will also bring out the more nuanced aspects of a song: sometimes a silence between notes in the music, or the breath between words, will be emphasized, possibly with a simple, physical gesture. This may be followed, for example, by a more complex sequence, such as a triple pirouette en cou-de-pied (coupe), or a grand jete, or a series of chaine turns, followed by a cabriole, descending to the floor, only to rise again, and perhaps very casually to walk downstage for a few counts before changing direction once again.

Movements in lyrical dance are characterized by their fluidity and grace. Leaps are often executed high, with a soaring quality; turns are airy, flowy and continuous. However, in some cases, a de-emphasis may provide a more compelling window into a dancer's emotions: a succession of quick, small leaps may be executed low, displaying the ever-evolving traces of a dancer's internal landscape. When the music's tone is angry or frustrated, dancers use sharp, short movements. Anger is also an emotion seen in lyrical dance. In routines with a strong component of anger, it is common for the jazz portions and styles of lyrical to come out. However, a lethargic, drawn-out quality of movement may show a contemplative or hestitant feeling. When the routine is joyful or peaceful, dancers use lighter, more flowing movements.
Of paramount importance in lyrical dance is the continuation of movement, flowing quite seamlessly from one move to the next. The dancer does not simply "finish" a move and be done. A lyrical dancer holds out the move for as long as possible, and has smooth transitions between others. Employing this connectivity of movement, the dancer may periodically stop or incorporate "sharp" moves (such as an abdominal contraction, a sideways glance, or a leg flick) into a fluid routine, for emphasis. Connection to breath, and making sure to breathe, is also essential. In all, the moves are connected to one another, to the dancer's feelings, breathing, and to the music.

Some key dancer-choreographer-teacher notables within lyrical dance include: Suzi Taylor, Tracie Stanfield, Brian Friedman, Mia Michaels.

Although lyrical was originally choreographed to music such as ballads that are slower/downbeat, melodic and sweet-sounding, it is a very broad form of dance including many dynamic, fast-paced and sometimes thrashy pieces. Upbeat, aggressive styles of music are used frequently. Music can be of any genre; pop, rock, and even hip hop/R&B styles, are popular for choreographing. Pop selections, including soulful, powerful songs by emerging artists, are often used in lyrical dance.

Retrieved from "http://en.wikipedia.org/wiki/Lyrical_dance"

hahaha, very wordy i know, but quite cool right. illustrating a song through your dance. really brings life to a song.

this is Suzi Taylor, the lyrical dancer mentioned above. she's really good so watch all the way till the end ya?


you can see too, that the lights play a huge huge part in this. and the choice of song is really important for this performance as she didn't just choose any other 'emo' song, instead she chose one with a really silent start and then a dramatic chorus where she can be explosive with her expressions, then end off soft to let the emotion last in the audience. i mean that's how i felt at least.

and hey ppl, do your stretchings regularly (a reminder especially to myself!) not just to prevent muscle cramps and pulls, but it really helps you in exporing more dances, particularly lyrical which touches, jazz, ballet and contemporary. so stretchhhhhhhhhhhhhhhh!!

bridget!
hey yo! just like to pen down a bit of what lyrical is!

Lyrical!
Lyrical dance is a fusion of Ballet and Jazz dance techniques.
Lyrical dance challenges Choreographers and Dancers to use motion to interpret music and express emotion. A lyrical dancer's movements attempt to show the meaning of the Music. Lyrical jazz is a very passionate and emotional dance style. It portrays certain emotions such as love, and tells a story through every movement made.
Lyrical dance has a relatively recent history and a genesis based on the coming together of ballet with rock/folk/pop/alternative music and a variety of jazz dance styles and modern dance. (To a much lesser degree, punk and swing styles have also been a minor influence.) It is mainly performed to music with lyrics, and the song's lyrics are a driving force and key inspiration for the movement. Choreography is often emotional, gripping, and exquisitely delicate, all at the same time.

Lyrical dance gained its name not because the lyrics of a song are indeed sometimes highlighted over the rhythm, but because of the meaning of the word lyrical: having a poetic, expressive quality; musical; characterized by or expressing spontaneous, direct feeling; expressing deep personal emotions or observation; highly rhapsodic or enthusiastic. Lyrical dance is expressive, subtle and dynamic, expressing emotions through movement. It is a combination of intricate, highly technical, and pedestrian/naturalistic moves. Lyrical dance is often choreographed to a song about freedom, of releasing a sad emotion, or of overcoming obstacles, but can be choreographed to any human emotion-related song. Depending on the given song and choreography, a lyrical piece may or may not be graceful, but will always be expressive and unpredictable, particularly in comparison to ballet and other jazz pieces which may have a more presentational quality.

A solid, ballet-based technique is an essential component of this advanced style of dance, as is a facility with various other forms of jazz, some contemporary/modern dance, and proper placement and bodily alignment. Lyrical choreography is often peppered with intentionally pedestrian moves, amid the more challenging movements, to create a simultaneously organic and dramatic feel. Lyrical is based around choreography and the interpretation of the music. Routines are based around feeling and emotion and, though technique is crucial, spirit generally tells where the dance will go.

Musically, the choreography accentuates and/or flows in correspondence with a song's climaxes, but the choreography will also bring out the more nuanced aspects of a song: sometimes a silence between notes in the music, or the breath between words, will be emphasized, possibly with a simple, physical gesture. This may be followed, for example, by a more complex sequence, such as a triple pirouette en cou-de-pied (coupe), or a grand jete, or a series of chaine turns, followed by a cabriole, descending to the floor, only to rise again, and perhaps very casually to walk downstage for a few counts before changing direction once again.

Movements in lyrical dance are characterized by their fluidity and grace. Leaps are often executed high, with a soaring quality; turns are airy, flowy and continuous. However, in some cases, a de-emphasis may provide a more compelling window into a dancer's emotions: a succession of quick, small leaps may be executed low, displaying the ever-evolving traces of a dancer's internal landscape. When the music's tone is angry or frustrated, dancers use sharp, short movements. Anger is also an emotion seen in lyrical dance. In routines with a strong component of anger, it is common for the jazz portions and styles of lyrical to come out. However, a lethargic, drawn-out quality of movement may show a contemplative or hestitant feeling. When the routine is joyful or peaceful, dancers use lighter, more flowing movements.
Of paramount importance in lyrical dance is the continuation of movement, flowing quite seamlessly from one move to the next. The dancer does not simply "finish" a move and be done. A lyrical dancer holds out the move for as long as possible, and has smooth transitions between others. Employing this connectivity of movement, the dancer may periodically stop or incorporate "sharp" moves (such as an abdominal contraction, a sideways glance, or a leg flick) into a fluid routine, for emphasis. Connection to breath, and making sure to breathe, is also essential. In all, the moves are connected to one another, to the dancer's feelings, breathing, and to the music.

Some key dancer-choreographer-teacher notables within lyrical dance include: Suzi Taylor, Tracie Stanfield, Brian Friedman, Mia Michaels.

Although lyrical was originally choreographed to music such as ballads that are slower/downbeat, melodic and sweet-sounding, it is a very broad form of dance including many dynamic, fast-paced and sometimes thrashy pieces. Upbeat, aggressive styles of music are used frequently. Music can be of any genre; pop, rock, and even hip hop/R&B styles, are popular for choreographing. Pop selections, including soulful, powerful songs by emerging artists, are often used in lyrical dance.

Retrieved from "http://en.wikipedia.org/wiki/Lyrical_dance"

hahaha, very wordy i know, but quite cool right. illustrating a song through your dance. really brings life to a song.

this is Suzi Taylor, the lyrical dancer mentioned above. she's really good so watch all the way till the end ya?


you can see too, that the lights play a huge huge part in this. and the choice of song is really important for this performance as she didn't just choose any other 'emo' song, instead she chose one with a really silent start and then a dramatic chorus where she can be explosive with her expressions, then end off soft to let the emotion last in the audience. i mean that's how i felt at least.

and hey ppl, do your stretchings regularly (a reminder especially to myself!) not just to prevent muscle cramps and pulls, but it really helps you in exporing more dances, particularly lyrical which touches, jazz, ballet and contemporary. so stretchhhhhhhhhhhhhhhh!!

bridget!

Friday, December 26, 2008

dance lesson with Lucy

hey here are a few videos recorded during the dance lesson we had with lucy:)





dance lesson with Lucy

hey here are a few videos recorded during the dance lesson we had with lucy:)





Thursday, December 25, 2008

ydance crew, lemme introduce what on earth 'krump' is..
wahaha, after some research, well..... here is what i found out.

*Krumping is relatively new urban street dance-form that began in South Central Los Angeles and is characterized by free, expressive, and highly energetic moves involving the arms and chest. It has become a major part of hip hop dance culture.

*Krump is one of the dance style similar in form and practice to traditional weapon dances, and for this reason is considered by many African-American krumpers to be symbolic of, or referential to, their tribal roots. Dance "battling," a form of dance where competitors face-off in a direct and aggressive competition, is an integral component of krump in a similar way to the earlier breakdance battles, with "dissing" (mocking), and heightened moments of frantic, aggressive arm and chest movements (known as "buck" moves) being common.

and this is the cool part....it even has CHRISTIAN ELEMENT!

*For many participants there is a strong Christian spiritual element to the dance.
"Tight Eyez", a key early figure and now krump teacher, regularly speaks of Christian healing and gives praise to Jesus for the upbringing of this movement. The backronym "Kingdom Radically Uplifting Mighty Praise" is now often used by him, and this usage has spread widely.

*Krump families stick together, because being in a Krump family makes up for everything youths don't have in the ghetto, and gives them a safe place to thrive outside of gang life.

*Krump even has its own language, with words such as:
  • Get Buck: means to step up your moves a notch. You must be able to do this to succeed in a battle.
  • Get Amped: The next level of intensity. Movements should be off the hook, and off the walls.
  • Beasty: aggressive and beastlike
  • Goofy: animated and comedic krump
  • Hipolymer: copy cats who steal moves
  • Labbin: practicing tricks for a battle
  • Kill off: a combination of moves that end a battle, like the grand finale.
  • New Bootie: Some one new to Krump

references:
http://en.wikipedia.org/wiki/Krump
hubpages.com/hub/What-Is-Krump
,
http://dogtownink.com/02/what-is-krump/



before i end off, i got a treat for u!!!
3 DOPE CLIPS i found. jus wan2 share!

1.below is a clip by TIGHT EYES!



2.more krump moves, this u mus see!




3.krump tutorial by khris khaos for u to check it out!




jarsofclay,
dk...
ydance crew, lemme introduce what on earth 'krump' is..
wahaha, after some research, well..... here is what i found out.

*Krumping is relatively new urban street dance-form that began in South Central Los Angeles and is characterized by free, expressive, and highly energetic moves involving the arms and chest. It has become a major part of hip hop dance culture.

*Krump is one of the dance style similar in form and practice to traditional weapon dances, and for this reason is considered by many African-American krumpers to be symbolic of, or referential to, their tribal roots. Dance "battling," a form of dance where competitors face-off in a direct and aggressive competition, is an integral component of krump in a similar way to the earlier breakdance battles, with "dissing" (mocking), and heightened moments of frantic, aggressive arm and chest movements (known as "buck" moves) being common.

and this is the cool part....it even has CHRISTIAN ELEMENT!

*For many participants there is a strong Christian spiritual element to the dance.
"Tight Eyez", a key early figure and now krump teacher, regularly speaks of Christian healing and gives praise to Jesus for the upbringing of this movement. The backronym "Kingdom Radically Uplifting Mighty Praise" is now often used by him, and this usage has spread widely.

*Krump families stick together, because being in a Krump family makes up for everything youths don't have in the ghetto, and gives them a safe place to thrive outside of gang life.

*Krump even has its own language, with words such as:
  • Get Buck: means to step up your moves a notch. You must be able to do this to succeed in a battle.
  • Get Amped: The next level of intensity. Movements should be off the hook, and off the walls.
  • Beasty: aggressive and beastlike
  • Goofy: animated and comedic krump
  • Hipolymer: copy cats who steal moves
  • Labbin: practicing tricks for a battle
  • Kill off: a combination of moves that end a battle, like the grand finale.
  • New Bootie: Some one new to Krump

references:
http://en.wikipedia.org/wiki/Krump
hubpages.com/hub/What-Is-Krump
,
http://dogtownink.com/02/what-is-krump/



before i end off, i got a treat for u!!!
3 DOPE CLIPS i found. jus wan2 share!

1.below is a clip by TIGHT EYES!



2.more krump moves, this u mus see!




3.krump tutorial by khris khaos for u to check it out!




jarsofclay,
dk...

Thursday, December 11, 2008

hey people, was thinking you guys can try watching this.
http://www.youtube.com/watch?v=OAK3N5v9rvM
hopefully we may merge dance with rope skipping one day. :D
they are good.
-xinru
hey people, was thinking you guys can try watching this.
http://www.youtube.com/watch?v=OAK3N5v9rvM
hopefully we may merge dance with rope skipping one day. :D
they are good.
-xinru

Wednesday, December 10, 2008

this is one of my favourite vids..
makes us think why we dance..
definitely for us,
the main reason would be
JESUS CHRIST`!
[phew...took me a while to do that..]





his vessel,
'dk'..
this is one of my favourite vids..
makes us think why we dance..
definitely for us,
the main reason would be
JESUS CHRIST`!
[phew...took me a while to do that..]





his vessel,
'dk'..

Saturday, December 6, 2008

hey friends, since i'm waiting for my hair to dry right now, thought i might come here and share with you what i shared during our meeting today :D

1. expression matters alot, both bodily and facial

- as we venture into more genres, trying to depict different kinds of stories through our dance... we cannot by default keep to "SMILE AT THE AUDIENCE! SMILE MORE!" anymore! we need to be flexible with our expressions such that we are altogether flowing with the choreography and the music, then it would seem more appropriate. e.g. aggressive, fierce, in love, melancholic, miserable, lost.... many different types we need to learn to portray in different dances.

- like what was shared couple of weeks ago, we cannot keep up with 100% energy through the whole performance. it'll be either too boring for the audience, or we can't keep up with that kinda energy. so we need to know the dance and the music so well, and the story behind it, such that we know when to be soft, when to hit hard, when to extend, when to be nua abit... then there's a kind of journey through the dance. it'll be more interesting that way! both to the dancer and to the audience

- if we want to do something on stage e.g. acting silly, being very serious etc, since you're already on stage, might as well do it 100% all out instead of being shy and doing only 50% of it. by lacking enthusiasm and willingness in executing the action makes it even more awkward and ridiculous cos audience can tell you're nowhere here nor there! so just give it all out! you enjoy it, the audience enjoy it too (:

2. went for a ballet recital just now. not very amazing, but i thought about alot of things through the performance

- i really agree with DK about his point on being familiar with the music, keep listening to it.. something along those lines. during our syf days, when we had breaks or nothing to do, what we did was just to keep playing the music so that it gets locked in our minds. and as the music play we literally visualised ourselves doing the actions. and the more we did it together (we had partner dances then) the more chemistry we developed between ourselves. it's quite fun, cos we had so much chemistry that my partner and i made the same mistakes and stuff like that. i think peu experienced it too xD especially when we do group dances or couple dances, the way the entire show flows together matters alot. if one person is off time or you know, has a different angle or line or something, everything is messed up. there needs to be coordination and chemistry, definitely! so convicted about this. hahaha cos i'm missing my secondary school dance days so much ><

alright that's abt it. share more another time.

ps. tzelin! please post up all the names of all your favourite choreographers over here so that we all can go youtube their videos :D seeyou guys around!

love, chia
hey friends, since i'm waiting for my hair to dry right now, thought i might come here and share with you what i shared during our meeting today :D

1. expression matters alot, both bodily and facial

- as we venture into more genres, trying to depict different kinds of stories through our dance... we cannot by default keep to "SMILE AT THE AUDIENCE! SMILE MORE!" anymore! we need to be flexible with our expressions such that we are altogether flowing with the choreography and the music, then it would seem more appropriate. e.g. aggressive, fierce, in love, melancholic, miserable, lost.... many different types we need to learn to portray in different dances.

- like what was shared couple of weeks ago, we cannot keep up with 100% energy through the whole performance. it'll be either too boring for the audience, or we can't keep up with that kinda energy. so we need to know the dance and the music so well, and the story behind it, such that we know when to be soft, when to hit hard, when to extend, when to be nua abit... then there's a kind of journey through the dance. it'll be more interesting that way! both to the dancer and to the audience

- if we want to do something on stage e.g. acting silly, being very serious etc, since you're already on stage, might as well do it 100% all out instead of being shy and doing only 50% of it. by lacking enthusiasm and willingness in executing the action makes it even more awkward and ridiculous cos audience can tell you're nowhere here nor there! so just give it all out! you enjoy it, the audience enjoy it too (:

2. went for a ballet recital just now. not very amazing, but i thought about alot of things through the performance

- i really agree with DK about his point on being familiar with the music, keep listening to it.. something along those lines. during our syf days, when we had breaks or nothing to do, what we did was just to keep playing the music so that it gets locked in our minds. and as the music play we literally visualised ourselves doing the actions. and the more we did it together (we had partner dances then) the more chemistry we developed between ourselves. it's quite fun, cos we had so much chemistry that my partner and i made the same mistakes and stuff like that. i think peu experienced it too xD especially when we do group dances or couple dances, the way the entire show flows together matters alot. if one person is off time or you know, has a different angle or line or something, everything is messed up. there needs to be coordination and chemistry, definitely! so convicted about this. hahaha cos i'm missing my secondary school dance days so much ><

alright that's abt it. share more another time.

ps. tzelin! please post up all the names of all your favourite choreographers over here so that we all can go youtube their videos :D seeyou guys around!

love, chia

Friday, December 5, 2008


DK's learnings:
wan2 share more practical learnings today..

principles-
-every dancer has his or her own style, one shouldn follow or copy another dancer's style,
but create one on their own
-anyone can dance, our body crave to dance. its our minds that hold us back.
-as long as one can move, one can dance.

stage performance-
-5mins just before each performance, the crew should gather, scrape all the FULL OUT/MARKING OUT but actually let the song play once through in your mind.
THEN, in your mind, actually visualise how are YOU going to portray yourself to the audience.
[like what xinru mentioned]
-every dancer should bear in mind facial expression [avoid looking on the floor, or stressed. if tired, still put on a smile and breathe through your nostrils]
-every dance should put in a personality in your dance moves [be it the cheeky wink [if not sure, ask API] or the cool type]
-every dancer should go up there, dance hard, and enjoy the performance.

warm up-
[what we do in NRA]
-stretching from head to toe [leg bounce, calf stretch, bends]
-crunches [with legs lifted]
-pumping [girls are to do as well]
-body isolations [head, shoulders, waves, chest and body]
-footwork and locking practice [normal training routine]
-frog jump [the one you jump, with hands and legs stretched to max.
its to emphasize exaggerated actions we got to do on stage]
*depends on the choreographer. sometimes we do jazz, ballet, even house warm up as well.


his vessel,
`DK` c",)

DK's learnings:
wan2 share more practical learnings today..

principles-
-every dancer has his or her own style, one shouldn follow or copy another dancer's style,
but create one on their own
-anyone can dance, our body crave to dance. its our minds that hold us back.
-as long as one can move, one can dance.

stage performance-
-5mins just before each performance, the crew should gather, scrape all the FULL OUT/MARKING OUT but actually let the song play once through in your mind.
THEN, in your mind, actually visualise how are YOU going to portray yourself to the audience.
[like what xinru mentioned]
-every dancer should bear in mind facial expression [avoid looking on the floor, or stressed. if tired, still put on a smile and breathe through your nostrils]
-every dance should put in a personality in your dance moves [be it the cheeky wink [if not sure, ask API] or the cool type]
-every dancer should go up there, dance hard, and enjoy the performance.

warm up-
[what we do in NRA]
-stretching from head to toe [leg bounce, calf stretch, bends]
-crunches [with legs lifted]
-pumping [girls are to do as well]
-body isolations [head, shoulders, waves, chest and body]
-footwork and locking practice [normal training routine]
-frog jump [the one you jump, with hands and legs stretched to max.
its to emphasize exaggerated actions we got to do on stage]
*depends on the choreographer. sometimes we do jazz, ballet, even house warm up as well.


his vessel,
`DK` c",)

Thursday, December 4, 2008

souloutcrew!

presenting to you...
all the way from Ngee Ann Poly's NRA..
SOUL OUT CREW!

check out ..
the energy. the sync. the sharpness.
D . O . P . E !!






his vessel,
`DK`
c",)

souloutcrew!

presenting to you...
all the way from Ngee Ann Poly's NRA..
SOUL OUT CREW!

check out ..
the energy. the sync. the sharpness.
D . O . P . E !!






his vessel,
`DK`
c",)

Tuesday, December 2, 2008

weekly learnings
  • inject a story and our personality into the dance. (its much more impt than getting the moves!)
  • we cant just get the dance technically right. we may not get every step right, but if we wanna learn and also inject our feelings into it, we can potray the story to the people. remember, be IN character.
  • dancing requires NOT ONLY COMMITMENT TO SUCCEED, BUT COMMITMENT TO IMPROVE.
  • we can try to venture out into playing with songs so the dance will be better, not only imploring the dance steps
  • be flexible when dance mistakes happen! dont just continue doing your own stuff. try to cover up for the person.
  • a good teacher must have good fundalmentals! be grounded in a specefic genere
  • as dancers, we have to TRAIN LIKE CRAZY! amen? just for that 5mins on stage we have to give our best.
  • maintain eye contact with the audience. then you can get the audience's attention.
  • a good dance performance must have a highlight.

xinru.

weekly learnings
  • inject a story and our personality into the dance. (its much more impt than getting the moves!)
  • we cant just get the dance technically right. we may not get every step right, but if we wanna learn and also inject our feelings into it, we can potray the story to the people. remember, be IN character.
  • dancing requires NOT ONLY COMMITMENT TO SUCCEED, BUT COMMITMENT TO IMPROVE.
  • we can try to venture out into playing with songs so the dance will be better, not only imploring the dance steps
  • be flexible when dance mistakes happen! dont just continue doing your own stuff. try to cover up for the person.
  • a good teacher must have good fundalmentals! be grounded in a specefic genere
  • as dancers, we have to TRAIN LIKE CRAZY! amen? just for that 5mins on stage we have to give our best.
  • maintain eye contact with the audience. then you can get the audience's attention.
  • a good dance performance must have a highlight.

xinru.