"Dancing Tid-bits" Issue #76, Thursday, November 15, 2001
Slow Foxtrot - Some Reflections
They say: That "if you can understand and dance slow foxtrot, you have become
a dancer." I totally agree.
Slow Foxtrot is perhaps the most beautiful dance in the Ballroom section. If I can do a foxtrot with a partner of my choice, I feel "I am in the seventh heaven." It has everything in it, the alignments, the swing, perfect footwork, the flight and all elements of Technique to the utmost detail. The Outside Partner Positions, the CBM and the CBMPs and all that Jazz.
They say that "Slow Foxtrot is the most difficult dance in Ballroom section and should be left only for experts and competitors"... I totally disagree
No doubt it requires precise technique but then for that matter which sport doesn't. Golf perhaps requires just as much if not more technique and I don't see people saying that golf should be reserved only for the most advanced sportsmen. On the contrary it is perhaps the most common sport. How and where you play is an entirely different matter.
I believe that once you are familiar with the basics of ballroom dancing, slow fox becomes just as easy to dance. No doubt that one must be serious about details of technique specially body relationship and alignments on outside positions. The swing creates flight, rise and fall which should result in good footwork automatically. Heel Turns for the Lady are not that difficult provided you have the right teacher. Something to that effect in the next issue.
They say that "Slow Foxtrot requires large ball room with only few dancers around"...... I disagree but also I kind of agree a little.
No doubt, for the true ecstasy of the dance it would be nice to have ample room for linear, long gliding figures and of course the right chemistry with the partner. However if a dancer cannot adjust to his/her environment and "weather conditions," something is lacking and this must be overcome. I recall Peter Eggleton and Sunny Binnick making statements like when they were competing they would intentionally go to small, crowded dance clubs in London with all the smoke and everything else and they would do their stuff without disturbing others. This was their way of mastering their floorcraft.
I think this notion of having a large ballroom to yourself is wrong. One should be able to check swing, modify alignments and just negotiate the traffic or even at times, just go to a SSQQ rhythm of social and then into Three Step etc; don't stop, just keep dancing......the foxtrot will perhaps become more challenging and lots of fun.
Tips on teaching and learning the Slow Fox in the next issue, Best wishes ...Max
Questions and comments to Dancemax@aol.com, thank you.