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Slavik Kryklyvyy | Cha Cha Cha | Lecture | Flashback Highlight | pt.1

February 26, 2020


Hi guys is it working? So somebody yes pasta yes still chicha damn, okay Should we do some rounds No energy in the room, you know what actually I was yesterday the party and You know what? Where’s my bag I made some video Especially for today and there was so much energy yesterday in the room You wanna see all those movements? It’s on my camera What happened now? Get up You think of course I’m gonna start the nagging at all, it doesn’t mean you’re gonna chill out Sitting you have to work hard. So while I’m speaking While you listening for general information you all have to do squats I’m serious. Come on. One two three go. I’m just kidding. I’m just kidding. Anyway, so cha-cha-cha Varies there is a lot of a lot of information and I’m sure you heard so many things about All the answers, right? You know how a choice looks like do you oh Come on people Nah Yes, so if I will speak about general rules general things like for example What kind of leg action should be into xuxa? You’re pretty much aware of it, right? Pepa training more energy so Everybody knows that. We have a very clear leg action in cha-cha-cha by flexing and straightening the leg We know that Yes What happened when you are dancing What happened to that information? which you heard from the first ever lesson on cha-cha-cha that you have to straighten your legs and Suddenly you still do in a band once So guys whatever information you get wherever you do your product have to be very clear And it’s very simple, you know that like have to be straight that’s it you straighten you work you straighten your leg action It’s have to be sharp and clear Yes and If I will speak about the rhythms and timing do you understand what is count what is timing? What is the rhythm do you? Yeah, so if we say, for example, we have two three cha-cha one What is it just count? Yes. So what is the timing of that? Oh Come on people it takes forever Correct not timing. Sorry Time Inc. What is timing? It’s how much time we spend on each Walk, right, so we said it’s a – it’s a three it’s a cha cha what it’s very simple one Yeah, so what is it? full Full half half full simple, right? Okay if I will speak for example Sorry, and the rhythm wise rhythm what what kind of rhythm it is? slow slow quick quick slow Yes easy. This is the simple one, of course in your choreography you have much more complicated ones, right you have sometimes if for example if I will say 2 3 cha-cha 1 then 2 3 cha-cha 1 & 2 It’s a little bit already not so Basic basic, right? So because I see I syncopated more after three quick quick Quick quick slow. Yeah, because it’s a 1 & 2 as well recognizable clear Yes So you have to make sure that you know all your choreographies exactly what you do What is the count what is the timing and what is the rhythm? clearly because every lesson every lesson I speak to the students and it’s not only in here in Korea you can a different place is to and sometimes it takes half an hour to find out what is there and If you get on the floor and then you dance in front of the judges, I mean what what do we have to judge? We cannot read and understand what you do and Of course the most important wherever you decide wherever you know of your timings rhythms and counts you have to coordinate with what the music and not the music which plane in your head is the music which DJ plane for you, right and not just wherever you Countians your head. It’s got to be very precise very clear About the actions, like I said actions of your body wherever there is exist, its have to be very purely done Its have to be very clear and understandable So we understand what is going on If it’s like action, we already know that yes flex and straight flex and straight flexin straight Cha-cha one very clear. We know all of that, right? So it’s yet to be purely done And of course if I say at the competition’s not everybody not even sometimes top top top top couples always doing straight legs where it should be right not always but one things they don’t do maybe five or 2% out of time and you don’t do hundred times a hundred. Sorry hundred percent of the time you don’t do it So if it’s constantly one, two, three, cha-cha one two, three cha-cha one like this. I mean Come on Do you think it’s important? You did it is very much. So did I say something new to you? Not at all. You all know that you heard many times But the problem is that we lecture and teachers we have to say it again and again and again why? Because you don’t do it If we speak about the body actions body actions What body actions do we have to create? While we dance you to cha, what is the main actions in a body? What what we have to Kind of show and dance through what each one So I have time for the tea cool think about it seriously My god, it’s hot here Cuban action on a first place. What is Cuban action? It’s a hip action it’s number eight in the hips what we create which what is You have to make a pendulum and rotation pendulum rotation. You know it you know it Yes, there is a ribcage action, isn’t it? So we have a planned a loom action We have a change of the side and the ribcage Action to activate in our body, of course It’s not necessary to do you don’t have to I mean it’s to complicate. Why do you have to do that? Who cares about the pendulum action the OD action not important, right? So you don’t have to but Then don’t be surprised. Why is cha cha Cha is doesn’t have a good responses good results because somebody next to you. I’m gonna do it and then Your marks go down Because judge is not marking what you do compared to yesterday Judge have to mark today compared to the next couple So your result sometimes I have like at lessons or my charger is compared to Samba always I mean I have better worse marks but not because your cha-cha may be Betty just because somebody else ChaCha is Fabulous, and your cha-cha is okay. So then you have to find out what is necessary to develop Anyway, so We have a leg action very clear We know that we have a pendulum action and change of the side and the ribcage Actions. Yeah, you all know that Do you? You all heard that So what we need to do now, what else would you like to hear from me? First thing you have to really learn how to practice how to really practice to to develop yourself not to waste up in a time in your Training and just go through the choreography. I find I find your product not just your summer Sorry generally product that the Combs what I see the couples you have so much energy and yesterday yesterday you had so much energy in the room and I wanted actually Complain to the cook of the rest of the restaurant because he probably put something special into your pasta Because you was like, ah, Nicole You spend so much energy when you dance for Nothing. This energy is just spread out all over the place and you don’t see very clear beautiful fluid movement In your body which achieve something some goal to get somewhere Do you understand what I mean? For example If you do, you know hip with sha sir Could you please show me? All together can you do it all together and so Ready? cha-cha one two three cha-cha one Very good now. Can you do run – awesome and two three cha-cha one Good, so you all know what is it? Right. So, could you please tell me? Could you please tell me which actions do we need to create? To make this hit with Casa The chasse name itself says hip twist Shaza right. So the main thing would be there is sheep twist Shots yes So for for which what action we have to mainly spend our energy in director of an energy in our body? for the hip twist But for some reason at the combs I see this When you are not saying you should not be energetic You should be energetic you should put energy and effort into your movement But that energy have to be directed for the right movement You have to understand. What is the main goal of that particular step or Figure or whatever. Yeah, if here we said it’s a hip twist. So the main energy should be Hip twist and not grow Because you have to be energetic Energetic it doesn’t mean is have to be travel in space only Do you understand so if you do run this shaza it will be same yeah You have a preparation in your body You have to prepare your body for the wrong day and the main energy you drawn day and then chasse cha-cha one Clear I’m afraid Could you please dance try just hit three shots around the shots by yourself by yourself ready and Two three cha-cha one and two three cha-cha one two Three cha-cha one two, three cha-cha one. Yes, for example better Okay, this is better now What is there what is the rhythm of this particular thing of Hip with shots around a shot sir. What is the rhythm? Slow slow quick quick slow How to achieve Very crispy rhythm so you can see very clearly very slow. Where is the quick ones? You can do it guys. You can do it two three cha-cha one fabulous two three cha-cha one Do you think it’s interesting? Why? It’s flat Even if it’s slow slow quick we slowed. It doesn’t look like it’s a slow slow quick-quick slow. It’s looks like everything slow slow slow slow slow So we have to create somewhere energy and show very clear rhythm. So, how can we do that? Simple principle as a resistance creating resistance Yes to create it to create a good contrast and change of the speed To show the clarity of the rhythm. How can we create and when? It’s usually have to happen on a last slow before you go too quick. So last slow should not be empty It’s not two three cha-cha one two Resistance you really fill up and use resistance where of course standing leg, of course Like between the legs you use resistance Of course your leg with the floor and of course in your sides because this is the main thing where you are creating the action so all of Tanjung leg your side’s Yes and leg in connection to the standing leg and to the floor So creating resistance you’re using Fully your slow until the milling millisecond of that slow You don’t just go two three cha-cha one two three cha-cha one You have to take a risk you have to take a risk and dance fully that slow Take a risk, of course, you still have to be on time for the cha you have to arrive ready to already be on that step But take Eric’s How long can I really play with the music to challenge the music and still be on time? Jerry similar. I think they have enough Try Could we have a very slow cha-cha Very slow a La muchacha Renta forever Now Or this is too fast Ready together – gotcha Wow Now you’re thinking now you are thinking But when you dance in your choreographies you’re cruising you just go 2 3 cha-cha 1 or You go choose you want you three actually, this is more likely and you just do crazy eyes after pasta special pasta and go So the rhythms everything what you do and actually no guys small secret on When I judge I’m so bad because I For me the first things I check the music Issue, if you of time, I don’t care about your fluidity in your body about beautiful posture and Crazy complicated choreography and maybe everything is perfect. But if you off time you of time next I Don’t think if in the Wimbledon Roger Federer, you know, who is that? Yeah. He’s a great player Yeah, the best player in the world or one of the best. Yes It doesn’t mean that he wins every Wimbledon, right? Why because sometimes he can hit and he miss the zone Right. So in our our zone, it’s our music So if you have time of And the problem is I’m repeating things which you know, you heard many times But you don’t do it you choose to ignore it and not to practice it Now next point We’re gonna try we’re gonna find all of that in your curve You’re gonna now to practice I just gonna give you thoughts what I see Next part what do you think when you create whatever movement you create? It’s important how you look? It’s extremely important So when you do it wherever again we spoke about the rhythms and actions, what about Beauty part I Don’t think if you create an action in the body or Build up energy in your body There should be some something happen in your neck and your shoulder line. There should be free Relaxed beautiful movement. I do it by using my legs My core or sorry feet legs and all my core muscles all around my hip area So I use that to create To build my energy which is necessary for everything to be fluid and to use flexibility and to be stable with it to create a good action for the twist To create good and powerful movement for mood to to move my body. Yes So it’s necessary But when you build that energy in the body and/or create some action in the body I don’t think it’s good to teach yourself to do it All that tension When I look at you when you walk in the restaurant or on the beach on the beach While we teaching I don’t see anyone walking like this I Don’t see I see everybody have normal reflexes right if I need to move I just use my legs and I go Don’t you think so if I need to sit on a chair? I see it if I stand up I stand up clean while why when you start to dance you start suddenly become Fabulous breakdancing. Oh my god It’s so tiring and it’s painful you need to go to chiropractor afterwards Seriously is it necessary So All the beauty part when you see top professional they do all of those actions. Yeah, and Looks like easy. Yeah, it looks like you can do it. It’s very simple you Create You create fluidity in the body actions you have Powerful strong movement and travel. Yes, you can really twist your body and You can still stay relaxed and show it’s easy Do you think I can do this because I born with it or Top dancers born with it. No, it’s training Correct training you have to teach if you build the energy You work it there and the beauty part and your breathing stay relaxed come If you need to create an action, you release the bodyweight create by using All the labs heaps sides. Yes, but there is nothing to do with your neck and shoulders Whatever happen in the shoulders, it’s a reaction from what happened in your ribcage it’s a reaction and not action If I need to move my leg I go If I need to twist my leg my sides I twist no net Nobody take bottle of water with Like this or stand up from the chair Yeah, Dima does Did I bored you already yes, yeah, okay Can we do very simple thing a very simple get It’s a lot of people yeah. Oh yeah. Yeah. Oh Yeah, yeah, how can they move how can they move how can you move I’m excited I’m excited I really would like it to do. Mmm. Okay, let’s do not to so many. Let’s say beg basic Yeah, then look step for now. Just one check lock step back back basic heaped with chasse Or Ron de chasse I Forgot It’s not complicated right? It’s very simple come on it’s it’s basic Different type of chasse sir. Okay again, so back basic Lockstep check lock step back Keep two shots Grande shot sir Let’s do from beginning again try try and Two three cha-cha one two three cha-cha One two three cha-cha one two, three cha-cha one actually now Actually, I must say the latch leg actions was better the action fluidity body was better not perfect, but better and Rhythm was better more clear. Yes Because you concentrate right now So when you work on your choreography you have to do the same. So now could you please Choose four bars of your cha-cha-cha choreography and With your partner and please find out think About what is the leg actions? They are? What is the rhythm timing just that? Yeah, just try to find Thinking thinking I’m practicing now not thinking thinking thank you. Thank you

6 Comments

  • Reply Christy Kurzeja February 19, 2020 at 7:39 pm

    Thanks forr giving us another Master Class. What he says about timing hurts….but, so true!

  • Reply Nikolai Sachok February 19, 2020 at 9:38 pm

    Great lecture, thanks for sharing!

  • Reply Helge Christophersen February 19, 2020 at 9:47 pm

    Thank you for this teaching of the cha cha cha.
    Slavik has himself danced a unique cha cha cha show with Karina.

  • Reply inna vakulenko February 19, 2020 at 10:39 pm

    ОГРОМНОЕ СПАСИБО!!!!💖💖💖

  • Reply 짝다리양다리 February 20, 2020 at 7:57 am

    Thanks you …good job

  • Reply Alka 612 February 21, 2020 at 12:32 pm

    Important stuff. Delivered in the recognizable style of Slavik himself

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