I recently attended a small workshop on samba technique and learned that it is more aesthetically pleasing to the eye when the dancer goes up on the toes on the actual beat and lower on the "and" count. E.g. Up on 1
Lower on "and"
Up on 2
Lower on "and " etc
Do any of the experts have any further comments on this topic. Cheers.

The latest revision of the ISTD Samba technique book has a new and different way of describing Samba timing, and what you're describing sounds similar. For example, the Natural Basic Movement:

Count 1
Step forward RF

Count "a"
LF closes to RF, without weight

Count 2
Take minimal weight to LF and then replace to RF

This is the way it's described. When I actually attempt to do exactly what is described, it feels perfectly ridiculous to me. As usual I'm sure they're trying to make a point, but I can't quite figure what it is. I'll see if I can speak with someone who has more knowledge about the new ISTD syllabus.

Most of the time, these things are accurate but just don't quite come across in the translation (and therefore need a more thorough explanation). Every once in a while there is a technical point that I (and many others) just flat-out disagree with. But I will reserve judgement until I have had the full explanation.

Jonathan

Certainly there are misprints, as is typical with the first printing of any new revsion. However, the technique I'm describing is not on page 13, but in the technical breakdown of every figure in the syllabus which uses normal Samba action. In other words, it's on nearly every page of the manual. It's not a misprint.

Jonathan

The description by Jerar Derminasyan corresponds to that given in the IDTA technique book, written by Walter Laird. In my edition (not at hand, but about 1988), Laird has gone to the trouble of including a diagram of the samba bounce, to show that the legs are straight on the counts of '1' and '2' and flexed on the 'and' counts. This method was initially counter-intuitive to me, and for some time, I went with what teachers such as David Sycamore recommend: 'foot in position and weight fully transferred, with the leg flexed, on the 1, and again on the 2'. Then I found that by having the foot in position on '1', but in an up position, and not achieving full compression and weight transfer until the 'and', that I can achieve much better body rhythm during that half beat, ditto for the '2' 'and'. It helps me 'use the music'.

I don't have the new ISTD book, but the correction notice seems to conform to Laird's recommendation, although the excerpts quoted by Jonathan seem inconsistent; no wonder he felt ridiculous (I try my hardest to get the written technique to work, but I think I would give up with that description too.)

We had a new book of Latin American Samba of ISTD (Red cover). But we find some misprinted paragraphs. We has sent our comments to Mr. David wood of Sale Terminal of ISTD and received their answer posted 12/7/01, as below: .
· Page 13- Samba Bounce :
Originally printed by ISTD book " as a slight straightening of the knees on the first 1/2 of the beat and a slight flexing on the second 1/2 of the beat"
Should be " as a slight FLEXING of the knees on the first 1/2 of the beat and a slight STRAIGHTENING on the second 1/2 of the beat".

We hope that what we have written above is helpful.

HaOanhTranThanh

Here I will give the example if Samba bounce in a bar, the figure is Whisk to L:
- Samba has 2 beats to a bar. We will count 1 2. I add some additional counts, so it will be: "and 1 and a 2"

- "and": as TranThanh's article, "a slight STRAIGHTENING on the second 1/2 of the beat", the R ankle and knee straighten, the hip is from R to center. This can be called as "the commencing action"

- 1: LF to side, weight changes to LF, hip to L

- and: as TranThanh's article, "a slight FLEXING of the knees on the first 1/2 of the beat", the L knee and ankle begin to flex, as the RF begins to move backward. Hip commence to center.

- a: RF crosses behind LF with pressure. L knee still flexed, R knee straight. Hip center.

- 2: Take minimal weight to RF, hip silghtly to R, and replace to LF immediately, L knee is slightly flexed then, and commences to straighten at the next "and"

I see my description is quite complex. Could anyone have a clearer comment? Thanks!

Best regards,
MSN