Most dance teachers do not have pedagogy nor illustrate what should not be done, no matter how many medals they have got; the students would not know why their tricks do not work. Evita and Michael have both teaching skills. I am addicted to your precision ! Keep going, and thanks.
This is the most elaborate and useful tutorial I’ve ever seen, even the explanation for leaders is really helpful for followers to understand the hints from leaders, thanks so much Michael and Evita!
I love your explanations and your chemistry with Michael's bit more straight personality and Evita's goofs from time to time. I appreciate your detailed breakdowns of the moves in every video of yours. It really helps me getting a better feel for the moves. I also love Evita's hairstyle and Michael's outfit makes me want to go out to the next social.
i've been doing lindy for a few months now and whenever my lead will shove my back i would have no idea what they wanted me to do 😂 thanks, y'all-- very informative!
I love how informative and approachable your videos are! I had a question about footwork- I've seen pop turns taught with the follower (and leader sometimes) doing rock-triple-step-*step*-triple-step (I think I caught a glimpse of Evita doing that at 0:30). Do you have a recommendation for either? If that's too deep a question for youtube, no worries!
Hey Damian, thanks for the comment, and good eye! Yes, that rhythm is totally acceptable, and I suppose I'd suggest that if I give the 'pop' energy at the front end of count 2, the Follow might triple on '2 and 3,' vs. if I give the pop closer to the end of 2, then maybe Evita would have tripled on '3 and 4.' No strong evidence to prove that at the moment, but it might be fun to experiment and see what happens. Cheers.
Hi, First of all, this is great. Michael and Evita are terrific teachers who deserve their acclaim! One of my students posted this in our FB group so I watched it to see (steal) their technique for the pop turn. ;) What I say next is NOT "instead of" -it's "in addition to". This is NOT a criticism; it's to add a point that will help people get this move quickly with efficient body movement. I noticed you guys spent a ton of time talking about Michael's arm leading the 'pop', but what I emphasize -and what Micheal does virtually every time he shows the move- is to lead with my body movement from beat '1' into beat '2'. How? By drawing my right foot back and toward (even slightly behind) the follower on beat '2'. Micheal does this throughout his explanation from around 7:00- 7:45 minutes. Notice that as Michael says "pop", his right foot is already in motion. Later, Evita says her rotation already has momentum on '2' which is why '3 a4' is so easy. She also mentions having "space" to make the turn because Michael's arm is not crowding her by pushing up and tipping -but it's also because his body moves back. At 9:19 when Michael is talking about opening up by stepping away, on '1', you'll see a really good example of this as he says "boom" (or something) on beat '2'. :) I also like rocking 'away' on '1', but so much rotation comes from the movement between '1' and '2'. I learned this technique from Paul Overton in a tuck turn and I discovered that it works so *effortlessly*. To create more 'pop' I accentuate this movement so that the 'tuck' has a wee bit more energy. Add the arm opening on '1' and the rotation into '2' and it's an unmistakable lead. To show my students the effectiveness of the lead, I have each couple take a rock on '1' and hold it. Then I ask the followers to close their eyes and I *show* the leaders where I want them to put their right foot on '2' (so that the followers can't see). However, I tell them to take the position *without putting any weight on it* (like a tap). Then I tell the leaders to shift their weight and all the followers automatically rotate without knowing that they were "supposed" to. I hope that's useful. :)
Hi Greg, Thank you for the additional information. It's great! I reciprocate your praise, and I'll also add more context for why our focus is what it is in this video (and really most moves). I think one of the biggest reasons we emphasize what my arm is doing in this move is because that's the body part connected to Evita/my partner. One of my little "soapbox" moments with students is when they say, "but I was told that I should use my body, not my arm," to which I reply, "my arm IS a part of my body, and it's the part that connected my partner." Further, I want the Leads to think about what they're doing for their Follow more so than what they're doing for themselves. I fear that when we focus on footwork ad what the Lead's center mass is doing, while also demonizing the use of arms, it creates ineffectual leading. I see so many Leads virtually paralyzed when trying to lead because they've interpreted this teacher-speak phrase to mean that they shouldn't use their arms at all. In truth and more to your point, I also believe the entire body is involved, and the origin of this (and most any) move starts with my center and flows through me sequentially through to the end of my fingers. Sometimes I'll liken the gesture to throwing a forehand in ultimate Frisbee, but that tends to be a bit obscure for many in our crowd. :-) And while we, as teachers, don't want to create arm-only, rough Leads, I feel that many teachers are addressing the footwork and center mass portions of movement, already. The difficulty in Leading well is to get everything moving in concert with good timing and clarity. It really is a conversation to have over a pint, because there just so much nuance to the discussion, and words alone can't do justice when describing good connection. I never had the privilege of taking class from Paul and Sharon, but many a time I have heard that they would be right up my alley. Thank you for taking the time to write, and I appreciate your insight on the Pop Turn. I hope things are well in PA, and all the best to you. ;-)
Hi Byron, so sorry for this terribly late response but I finally posted the information about my shoes. They are custom made from La Duca. This is the website. www.laducashoes.com I got them years ago to match a costume that Michael and I had. He had matching shoes!
They are good, but I am glad this dance evolved from black communites, their feelings and fun for just dancing and sharing it with others and not from a technical breakdown ...
Frank Monday: Hi Frank, sorry you feel that way. We were trying to address all the questions and problems we have seen people go through while doing this move. You can always fast forward. 🤗. I’m glad to know you find the move easy. - Evita
I disagree. This is a great explanation. It may go to much into depth for this move but the 'basics' they are covering here have been incredibly useful as I've learnt more advanced moves or implement variations.
Most dance teachers do not have pedagogy nor illustrate what should not be done, no matter how many medals they have got; the students would not know why their tricks do not work. Evita and Michael have both teaching skills. I am addicted to your precision ! Keep going, and thanks.
This is the most elaborate and useful tutorial I’ve ever seen, even the explanation for leaders is really helpful for followers to understand the hints from leaders, thanks so much Michael and Evita!
Thank you for the compliment, and we're glad you find it helpful. Keep practicing and we really appreciate the positive support.
Genius videos, gonna watch every one :)
I love the way you both explain the steps and potential mistakes! Great chemistry and very articulate, I appreciate this
Thanks Lauren!
I love your explanations and your chemistry with Michael's bit more straight personality and Evita's goofs from time to time. I appreciate your detailed breakdowns of the moves in every video of yours. It really helps me getting a better feel for the moves.
I also love Evita's hairstyle and Michael's outfit makes me want to go out to the next social.
i've been doing lindy for a few months now and whenever my lead will shove my back i would have no idea what they wanted me to do 😂 thanks, y'all-- very informative!
Wow. Glad we could help. Hopefully your partner can learn not to actually “shove” you but use a more finessed approach. Thanks for watching.
These videos are so helpful, thank you. You are so glamorous and elegant Evita - life goals!
Aw Nicola, thanks for the lovely compliment. ;-)
der online Kurs, ist das Beste, das es je gab. einfach auf der Homepage herunterladen.
Thank You.
1, 2, 3, 4, 5.... Eyes open... Wide Awake. You are amazing.
Why are you not making videos anymore??? You are super teachers! Greets from Italy!
Very top lesson! At 6:35 was really helpful for me to get the move :)
Hi, WCS nerd here. I'm just here for inspiration. And I wasn't disappointed!
Wow. The clear details are so helpful. Thank you.
Really enjoy the detail in explanations for connection and (jedi-)forces between lead and follow. Its very helpfull! Thanks!
Красивая, стильная пара! Люблю вас смотреть. Эвита- огонь,!
Excellent demonstration of this move.
Hey Ray, thanks for the compliment, and we’re glad you enjoyed the video ;-)
Awesome video!
Merci beaucoup, vos explications sont très bien détaillées.
Grancier Pierre, thank you for watching!
Great video. It would be helpful to be explicit about which foot your weight is on each count.
I love how informative and approachable your videos are! I had a question about footwork- I've seen pop turns taught with the follower (and leader sometimes) doing rock-triple-step-*step*-triple-step (I think I caught a glimpse of Evita doing that at 0:30). Do you have a recommendation for either? If that's too deep a question for youtube, no worries!
Hey Damian, thanks for the comment, and good eye! Yes, that rhythm is totally acceptable, and I suppose I'd suggest that if I give the 'pop' energy at the front end of count 2, the Follow might triple on '2 and 3,' vs. if I give the pop closer to the end of 2, then maybe Evita would have tripled on '3 and 4.' No strong evidence to prove that at the moment, but it might be fun to experiment and see what happens. Cheers.
Exceptional. Thankyou.
Hi,
First of all, this is great. Michael and Evita are terrific teachers who deserve their acclaim!
One of my students posted this in our FB group so I watched it to see (steal) their technique for the pop turn. ;) What I say next is NOT "instead of" -it's "in addition to". This is NOT a criticism; it's to add a point that will help people get this move quickly with efficient body movement.
I noticed you guys spent a ton of time talking about Michael's arm leading the 'pop', but what I emphasize -and what Micheal does virtually every time he shows the move- is to lead with my body movement from beat '1' into beat '2'.
How? By drawing my right foot back and toward (even slightly behind) the follower on beat '2'. Micheal does this throughout his explanation from around 7:00- 7:45 minutes. Notice that as Michael says "pop", his right foot is already in motion. Later, Evita says her rotation already has momentum on '2' which is why '3 a4' is so easy. She also mentions having "space" to make the turn because Michael's arm is not crowding her by pushing up and tipping -but it's also because his body moves back. At 9:19 when Michael is talking about opening up by stepping away, on '1', you'll see a really good example of this as he says "boom" (or something) on beat '2'. :) I also like rocking 'away' on '1', but so much rotation comes from the movement between '1' and '2'.
I learned this technique from Paul Overton in a tuck turn and I discovered that it works so *effortlessly*. To create more 'pop' I accentuate this movement so that the 'tuck' has a wee bit more energy. Add the arm opening on '1' and the rotation into '2' and it's an unmistakable lead.
To show my students the effectiveness of the lead, I have each couple take a rock on '1' and hold it.
Then I ask the followers to close their eyes and I *show* the leaders where I want them to put their right foot on '2' (so that the followers can't see). However, I tell them to take the position *without putting any weight on it* (like a tap).
Then I tell the leaders to shift their weight and all the followers automatically rotate without knowing that they were "supposed" to.
I hope that's useful. :)
Hi Greg,
Thank you for the additional information. It's great! I reciprocate your praise, and I'll also add more context for why our focus is what it is in this video (and really most moves).
I think one of the biggest reasons we emphasize what my arm is doing in this move is because that's the body part connected to Evita/my partner. One of my little "soapbox" moments with students is when they say, "but I was told that I should use my body, not my arm," to which I reply, "my arm IS a part of my body, and it's the part that connected my partner." Further, I want the Leads to think about what they're doing for their Follow more so than what they're doing for themselves. I fear that when we focus on footwork ad what the Lead's center mass is doing, while also demonizing the use of arms, it creates ineffectual leading. I see so many Leads virtually paralyzed when trying to lead because they've interpreted this teacher-speak phrase to mean that they shouldn't use their arms at all.
In truth and more to your point, I also believe the entire body is involved, and the origin of this (and most any) move starts with my center and flows through me sequentially through to the end of my fingers. Sometimes I'll liken the gesture to throwing a forehand in ultimate Frisbee, but that tends to be a bit obscure for many in our crowd. :-) And while we, as teachers, don't want to create arm-only, rough Leads, I feel that many teachers are addressing the footwork and center mass portions of movement, already. The difficulty in Leading well is to get everything moving in concert with good timing and clarity. It really is a conversation to have over a pint, because there just so much nuance to the discussion, and words alone can't do justice when describing good connection.
I never had the privilege of taking class from Paul and Sharon, but many a time I have heard that they would be right up my alley. Thank you for taking the time to write, and I appreciate your insight on the Pop Turn. I hope things are well in PA, and all the best to you. ;-)
This one is way too advanced for me , but I kept watching because of their English and their explanations.
great video. Plus extra points cause you used the word Jedi :)
Thanks, and I often feel like the power of intention (an unseen concept) in my lead is much like the Force, in Jedi-speak ;-)
I'll get this. someday. I was trained wrong and this has never worked!
thank you.
video bellissimi e chiari , peccato non trovare le spiegazioni in lingua Italiana
Le mouvement complet est à 6:55
Killer shoes, Evita! If you don't mind, please share brand!
Hi Byron, so sorry for this terribly late response but I finally posted the information about my shoes. They are custom made from La Duca. This is the website. www.laducashoes.com I got them years ago to match a costume that Michael and I had. He had matching shoes!
You guys are so lovely! Great explanation!
Thanks Kenny, and we're glad you like the video ;-)
They are good, but I am glad this dance evolved from black communites, their feelings and fun for just dancing and sharing it with others and not from a technical breakdown ...
Майкл гдеэвита живёт такая красота?
❤️
way too much talking for such a simple move... sweet heavens man!!!
Frank Monday: Hi Frank, sorry you feel that way. We were trying to address all the questions and problems we have seen people go through while doing this move. You can always fast forward. 🤗. I’m glad to know you find the move easy. - Evita
I disagree. This is a great explanation. It may go to much into depth for this move but the 'basics' they are covering here have been incredibly useful as I've learnt more advanced moves or implement variations.