2.3 On Dance Frame

概要

社交ダンス、特にスタンダード種目におけるフレームについて述べています。



対訳


2.3 On Dance Frame
   ダンスのフレームについて

When taking a closed position hold you need to have balance and a stable frame.
クローズドポジションのホールドを取るときは、バランスと安定なフレームを持つことが必要である。

A good hold must allow each partner to stay balanced and not interfere with movement down the floor
よいホールドというのはパートナーのどちらもバランスが保て、そしてフロアをずっと動いていく間中邪魔をし合ってはならない。

- Leaders, don't hold the lady like you are a vise
リーダーはフォロアーを万力のようにホールドしてはいけない。

- a good hold must have some toned flex/give to allow adjustment inside the hold.
よいホールドというのは、ある程度トーンを持った柔軟性を持ち、なおかつホールドの内側での(ホールドの)調整ができる許容度を持っていなければならない。

Especially in turns is it necessary for both partners to stay on their left side and not to interfere with their partner's movement.
特に回転の場合、両方がお互いに左側に位置したままで、かつお互いの動きを妨げないということが必要である。

In a good hold every partner has his/her own territory.
よいホールドにおいては、それぞれのパートナーが自分の領分を持つ。

If you enter your partners territory you risk war (or at least crushed toes)!
もし自分のパートナーの領分に入り込んだら、戦争のリスクを犯すことになる(あるいは最低でもつま先を踏み潰す)!

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Most dancers have gone through a spaghetti phase, followed by a stiff-as-a-board phase before realizing what the proper toned frame feels like.
多くのダンサーは、適切なトーンを持ったフレームというものがどのように感じられるのかを会得するまでに、最初のスパゲッティ状態から、板みたいに固い状態を通過するものである。

The dance frame is the foundation of your dancing - "If the foundation is weak, the house will collapse"
ダンスフレームはあなたのダンスの基礎となるものである。「もし基礎が弱ければ、その家は崩れてしまう」

Don't be a "busy body" - a quiet body allows woman to distinguish leads, and looks much better.
忙しいボディにならないこと、静かなボディが、あなたのあれやこれやのリードを女性がきちんと区別できる助けになる。

A stable frame is important because it maximizes the couple's signal-to-noise ratio - maximizes the amount of useful information that can be transmitted between their bodies.
安定したフレームが重要である。なぜかというと、それがカップルのあいだの信号対雑音比を最大化するからである。つまりカップルのボディ間でやり取りされ得る役に立つ情報の量を最大化するということである。

When the man leads, he prefaces all his steps with his momentum;
男性がリードするときは、すべてのステップを、あらかじめ自分のmomentum(勢い)をつけることを先行させること;

tama注:
momentumをうまく訳す言葉がすぐに思い出せないのでとりあえず「勢い」と訳していますが、要するに足を踏み出す前に必ず何らかの動きをして、女性に伝えなければならないということです。

for example, if he plans to step left on count 1, he puts his body weight a tiny bit leftward, a tiny fraction of a second before count 1.
たとえば、もし彼がカウント1で左にステップしようとした場合、かれはカウント1よりほんの少し前に、わずかだけ左方向に体重をかける。

In this way, he tells the woman where to step next, so that she can step as much with him as possible.
このようにして、男性は女性に対して、女性ができる限り彼とともにステップできるように、次にどこにステップするかを伝えるのである。

But if either of the partners has a soft, spaghetti-like frame, the man's momentum can't be transmitted to the woman,
しかし、もしカップルのどちらかがふにゃふにゃしたスパゲティのようなホールドをしているならば、男性の「勢い」を女性に伝えることはできない。

because there's no conduit - no solid connection between their bodies - for the information to travel along.
なぜならば情報がそれを介して伝わる伝道路(お互いのボディの間の確固としたコネクション)がないからである。

In other words, the connection between them is so noisy that the signal gets lost.
ちがう言い方をするならば、彼らのあいだのコネクションが雑音が多すぎて信号が失われてしまうということである。

Try this exercise: dancing either rumba or mambo, randomly switch between basics and cucarachas.
この練習をやってみよう:ルンバかマンボかどちらかを踊る、無作為にベーシックとクカラチャを切り替えて。

Just before you switch, put your weight in the direction you're about to travel, almost enough to fall over.
切り替える直前に、これから行こうとする方向に体重をかける、ほとんど倒れるくらい。

(No, in real dancing you don't put so much weight into it; this is just an illustration.)
(実際のダンスではそれほど体重をかけてはいけない。これは単なる比喩である)

Can you see how your partner would feel that? That's what I'm talking about, only subtler.
あなたは相手がそれをどのように感じるか理解できるだろうか。それが私の説明しようとしていること、大変微妙なものである。

On the other hand, it's also bad to have *too* firm a frame,
一方、あまりにも柔軟性のない固いフレームも良くない。

because then you either can't lead properly or can't react properly and you will always be throwing yourself and your partner off balance
なぜかというと、あなた方は適切なリードもできないし、適切に反応することもできず、自分自身を放り投げてしまい、相手のバランスも崩してしまう。

because there is no give to it - and you'll look like a mechanical robot.
その理由は相手との情報のやり取りの余裕がないからである。結果としてあなたは機械仕掛けのロボットのように見えるだろう。

For example, if your firm frame extends all the way down your torso, you'll have a very difficult time stepping outside partner,
たとえば、あなたの胴体全体にまで固いフレームにした場合、アウトサイドパートナーにステップしようとしても大変難しいことになる。

because you're trying to keep not only your shoulders but also your navels parallel.
なぜならあなたは二人の肩だけでなくおへそも平行にしようとするからである。


Kathryn Schaffer defines frame as "the minimum tone required to achieve position and maintain it."
キャサリン・シェイファーは「フレームとはポジションを確立し、かつそれを保つために要求される最小限のトーンである」と定義している。


tama注:
toneという英語の原義は、「外部からの影響により変形しても元の形に復元する性質ないしその程度」と考えると、より理解しやすい。日本語で言うと、剛性 ⇔ 弾性/復元性 ⇔ 可塑性というという比較関係において、中間的な位置にある「弾性/復元性」の程度と考えればよい。


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How are you to lead or read a lead without a good frame?
良いフレームなしにどのようにリードするのか、あるいはそのリードを読みとるのか?

When a leader moves my hand, he isn't just moving my hand, but he is moving all of me.
リーダーが私の手を動かす時は、彼は私の手だけを動かそうとしているわけではなくて、私全体を動かそうとしているのである。

If we don't maintain a good frame, body leads won't work either.
もし、我々二人が良いフレームを保っていなければボディリードはうまく働かない。

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I found that I achieved a better sense of dance frame by practicing while holding a light card chair.

It forced me retain a dance frame, not twist, collapse, drop an arm, or shape out of alignment.

It also gave me a feeling of moving in-line with a partner.

I used the chair mostly for problems that I was having with Rumba and Waltz.

For Swing (no, I don't recommend that you try open moves holding a chair in one hand, but) this technique might help with closed moves such as back-spot turns and Lindys (whips).

==========================================================

In Beth Emerson's class on Lady's Styling, the point she kept emphasizing was that what we usually think of as good "styling" is really a matter of good "technique".
ベス・エマーソンの女性のスタイリングに関する団体レッスンにおいて、彼女がいつも強調していたポイントは、我々が良い「スタイリング」として考えているものは、まさに良い「テクニック」そのものだということであった。

That if we follow a few simple technique rules, we will automatically look like we have good styling.
もし、我々が二三の単純なテクニックのルールを守るならば、それで自動的にわれわれが良いスタイリングを持っているというように見える。

The number one rule, for both leaders and followers, being: Never break your frame!!
もっとも大事なルールは、リーダーもフォロアーも決してフレームを壊してはならないということである。

That is, never let any part of your arm get behind your shoulder, whether you are in closed or open position.

For example, say you are progressing down the line of dance and want to extend your free arm back from the line of dance as a styling gesture at some break point.

We are usually taught in beginning classes to progress facing down the line of dance.

So what most people end up doing is keeping their body facing forward down the line of dance and extending their hand back behind them.

This however breaks the frame and doesn't look good.

However, if while your feet are facing forward, you turn your upper body to the side, then you can hit the same arm pose by just extending your arm to the side.

In this case your frame is not broken, it looks good, and you are facing the audience which also makes for good presentation.

Beth mentioned that a good way to keep from breaking your frame was for the leader to always keep his belt buckle facing the follower and to do what ever it took in foot work to accomplish this.

(Although in their WCS class, Beth and Dan showed a technique in a duck move where it was easier to do if the leader turns his side to the follower for a moment.

This appears to break the belt buckle rule.)

==========================================================

I was taught that (and this may depend on the style of dance and the particular move being done) the thing to do is to always keep the navels of the leader and the follower pointing to each other where possible.

In a WCS under arm pass, the leader should turn his body as the follower passes by so that his body is always facing hers.

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原文


出所:


2.3 On Dance Frame

Closed Dance Position: Followers, don't keep your left hand all the way around your partner's shoulder blade, where any backward motion on his part could throw you off-balance.

Another problem with keeping your hand around the shoulder blade is that it's pretty much impossible for your partner to get you into a right turn, leading with his right hand only.

Now, he needs to crank you around (break that grip you have on him) with his left hand.

This makes stuff like simultaneous right turns impossible.

(E.g., in WCS do a tuck turn, led only with the right hand, and both partners do a right spin out.)

Plus the arm around your partner's shoulder makes it look like the lady is hanging on her partner.

Michael Kiehm teaches that the follower should keep her left hand on the "front" side of the shoulder/upper arm joint, as it allows for a wider variety of alternatives.

An even better example is when you start a whip, release the left hand on 4 normal fifth step, then on six you snake your up off the right shoulder so you can do an elbow catch to stop and reverse the followers spin.

If the follower has the hook in you, you'd better do it real gentle like and be prepared to abort the move.

When the follower first puts a hook like that on me, I might mention it in passing.

If it comes back later, I'll attempt the elbow catch whip to illustrate just why it is so important not to hook.

That usually fixes it for the rest of the dance because the follower realizes how easy it is to accidentally wind up with a hurt arm.

==========================================================

"*Leaders, watch where your hand is on the followers back, especially during 8-count whips.

Do not put your hand low on her back, it is painful after a few swing outs.

Place your hand in the center of the follower's back between the shoulder blades and maintain proper ballroom dance position.

Create a form fitting dance space between you and your partner by combining hand placement, arm tension and posture.

You will immediately notice a tremendous increase in momentum if you dance this way.

This will provide you with the ability to do 8-count whips more efficiently to faster music.

And women, don't forget to really travel out on the swing out.

It is at least 50% your responsibility to get out there quickly so the next figure can be executed effortlessly."

2.3 On Dance Frame
When taking a closed position hold you need to have balance and a stable frame. A good hold must allow each partner to stay balanced and not interfere with movement down the floor - Leaders, don't hold the lady like you are a vise - a good hold must have some toned flex/give to allow adjustment inside the hold. Especially in turns is it necessary for both partners to stay on their left side and not to interfere with their partner's movement. In a good hold every partner has his/her own territory. If you enter your partners territory you risk war (or at least crushed toes)!

Most dancers have gone through a spaghetti phase, followed by a stiff-as-a-board phase before realizing what the proper toned frame feels like. The dance frame is the foundation of your dancing - "If the foundation is weak, the house will collapse" Don't be a "busy body" - a quiet body allows woman to distinguish leads, and looks much better. A stable frame is important because it maximizes the couple's signal-to-noise ratio - maximizes the amount of useful information that can be transmitted between their bodies. When the man leads, he prefaces all his steps with his momentum; for example, if he plans to step left on count 1, he puts his body weight a tiny bit leftward, a tiny fraction of a second before count 1. In this way, he tells the woman where to step next, so that she can step as much with him as possible. But if either of the partners has a soft, spaghetti-like frame, the man's momentum can't be transmitted to the woman, because there's no conduit - no solid connection between their bodies - for the information to travel along. In other words, the connection between them is so noisy that the signal gets lost. Try this exercise: dancing either rumba or mambo, randomly switch between basics and cucarachas. Just before you switch, put your weight in the direction you're about to travel, almost enough to fall over. (No, in real dancing you don't put so much weight into it; this is just an illustration.) Can you see how your partner would feel that? That's what I'm talking about, only subtler. On the other hand, it's also bad to have *too* firm a frame, because then you either can't lead properly or can't react properly and you will always be throwing yourself and your partner off balance because there is no give to it - and you'll look like a mechanical robot. For example, if your firm frame extends all the way down your torso, you'll have a very difficult time stepping outside partner, because you're trying to keep not only your shoulders but also your navels parallel. Kathryn Schaffer defines frame as "the minimum tone required to achieve position and maintain it."

How are you to lead or read a lead without a good frame? When a leader moves my hand, he isn't just moving my hand, but he is moving all of me. If we don't maintain a good frame, body leads won't work either.

I found that I achieved a better sense of dance frame by practicing while holding a light card chair. It forced me retain a dance frame, not twist, collapse, drop an arm, or shape out of alignment. It also gave me a feeling of moving in-line with a partner. I used the chair mostly for problems that I was having with Rumba and Waltz. For Swing (no, I don't recommend that you try open moves holding a chair in one hand, but) this technique might help with closed moves such as back-spot turns and Lindys (whips).

In Beth Emerson's class on Lady's Styling, the point she kept emphasizing was that what we usually think of as good "styling" is really a matter of good "technique". That if we follow a few simple technique rules, we will automatically look like we have good styling. The number one rule, for both leaders and followers, being: Never break your frame!! That is, never let any part of your arm get behind your shoulder, whether you are in closed or open position. For example, say you are progressing down the line of dance and want to extend your free arm back from the line of dance as a styling gesture at some break point. We are usually taught in beginning classes to progress facing down the line of dance. So what most people end up doing is keeping their body facing forward down the line of dance and extending their hand back behind them. This however breaks the frame and doesn't look good. However, if while your feet are facing forward, you turn your upper body to the side, then you can hit the same arm pose by just extending your arm to the side. In this case your frame is not broken, it looks good, and you are facing the audience which also makes for good presentation. Beth mentioned that a good way to keep from breaking your frame was for the leader to always keep his belt buckle facing the follower and to do what ever it took in foot work to accomplish this. (Although in their WCS class, Beth and Dan showed a technique in a duck move where it was easier to do if the leader turns his side to the follower for a moment. This appears to break the belt buckle rule.)

I was taught that (and this may depend on the style of dance and the particular move being done) the thing to do is to always keep the navels of the leader and the follower pointing to each other where possible. In a WCS under arm pass, the leader should turn his body as the follower passes by so that his body is always facing hers.

Closed Dance Position: Followers, don't keep your left hand all the way around your partner's shoulder blade, where any backward motion on his part could throw you off-balance. Another problem with keeping your hand around the shoulder blade is that it's pretty much impossible for your partner to get you into a right turn, leading with his right hand only. Now, he needs to crank you around (break that grip you have on him) with his left hand. This makes stuff like simultaneous right turns impossible. (E.g., in WCS do a tuck turn, led only with the right hand, and both partners do a right spin out.) Plus the arm around your partner's shoulder makes it look like the lady is hanging on her partner. Michael Kiehm teaches that the follower should keep her left hand on the "front" side of the shoulder/upper arm joint, as it allows for a wider variety of alternatives. An even better example is when you start a whip, release the left hand on 4 normal fifth step, then on six you snake your up off the right shoulder so you can do an elbow catch to stop and reverse the followers spin. If the follower has the hook in you, you'd better do it real gentle like and be prepared to abort the move. When the follower first puts a hook like that on me, I might mention it in passing. If it comes back later, I'll attempt the elbow catch whip to illustrate just why it is so important not to hook. That usually fixes it for the rest of the dance because the follower realizes how easy it is to accidentally wind up with a hurt arm.

"*Leaders, watch where your hand is on the followers back, especially during 8-count whips. Do not put your hand low on her back, it is painful after a few swing outs. Place your hand in the center of the follower's back between the shoulder blades and maintain proper ballroom dance position. Create a form fitting dance space between you and your partner by combining hand placement, arm tension and posture. You will immediately notice a tremendous increase in momentum if you dance this way. This will provide you with the ability to do 8-count whips more efficiently to faster music. And women, don't forget to really travel out on the swing out. It is at least 50% your responsibility to get out there quickly so the next figure can be executed effortlessly."




  • 最終更新:2011-07-03 08:57:05

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