Here's the montage that was played at the West coast Swing Malaysia's anniversary Party. For those of you who missed it, here's what you missed. Hope you guys like the video.
 




We hope you could join us for our next one. Until then, do check back into this site for more updates of our regular events.

Come join us for the West Coast Swing Malaysia's community's 1st Anniversary Celebration!

 

It's going to be a Fun night of Dinner & Dance + A FREE Trial workshop for you to learn more about the dance! 

Mark Your Calendar!
Date: 18th October 2014 (Saturday)
Time: 4.30pm onwards
Theme: 70s Hippies
Venue: Paradox Art Cafe, Bandar Utama

More details at our FACEBOOK Event Page: https://www.facebook.com/events/271361533052108/!

With the Internet, one of the thing we need to have presence in is Social Media and we have no exception.

 

You can find us at the following sites.

PAGE - facebook.com/wcsmsia 

Group - facebook.com/groups/394798107227173/

Twitter - twitter.com/wcsmalaysia

Instagram - instagram.com/wcsmalaysia

So do get connected with us! Also, do tag us if you wish to blast out any information about West Coast Swing and we will RT it for you.

Watch this space as we'll be making an announcement soon regarding our 1st Anniversary Celebration and we will be more than happy to welcome everyone who can join us in celebrating this momentous occasion!

Basic Guidelines

West Coast Swing is an evolving social dance that has gone through many changes throughout its short history, over time incorporating techniques from numerous dance styles. However, there are many guidelines that should be followed to maintain the true character of the dance. A dance's character is typically defined by a basic philosophy, principles of movement, and traditional steps and figures. While these guidelines can be violated, by committing too many violations one risks departing from the defining features of the dance.

Philosophically, Modern West Coast Swing is in large part defined by an emphasis on Musicality and Connection. Movement is based on a principle borrowed from ballroom and Latin dance, in which the dancer moves their center of gravity immediately over the foot when a weight transfer is desired. Traditional figures include 6-count and 8-count patterns of one of the four basic varieties: (1) Starter Step, (2) Side Pass, (3) Push Break / Sugar Push, (4) Whip. Many common WCS figures are derived from simple variations of these basic figures. West Coast swing is also a fundamentally improvised dance, and thus such defined figures are simply starting points for the skilled dancer.

Technical guidelines are as follows: Every figure or pattern should end with an anchor step, a critical characteristic feature of WCS. This is used to mark the end of a figure and re-establish connection between the two dancers. The leader should maintain the slot. The leader should use his own weight changes to lead the lady's movement, not the arm or hand alone. The follower should continue to the end of the slot. The follower should assume a triple-step count unless led otherwise. Both closed and open positions are acceptable. A connection should be maintained at all times, using some combination of physical and visual connections. Most steps are danced in 2-beat groups, allowing 6-count and 8-count figures to be extended and shortened as necessary to fit the music. The leader should plan ahead in the dance to allow the follower to experience musical accents.[61]

Although there are many exceptions and variations, the more traditional (1970's) West Coast Swing guidelines are as follows:

• The follower will always start with the Right foot.
• The follower starts on a down beat, counts one or three of a measure.
• The follower has a rhythm pattern of six beats (to start): double (walk walk) a right triple and a left triple
• The follower will walk forward forward on the first two beats of every pattern.
• The follower will step 3 times at the end of each pattern, the Anchor Step.
• The leader will always start with the left foot.
• The leader will vary their first movement according to the location of their partner.
• The leader will vary step two depending on the direction of the pattern.

At basic and intermediate levels, most dancers start the dance with a 4-Beat Starter Step.

(Note that the follower's step is different from the leader's; partners do not mirror each other.)

A few basic moves that any WCS dancer should know are listed below. They are performed with the same "step step tri-ple-step tri-ple-step" pattern equalling eight steps in six beats of music. The term "count" is used as a synonym for a "beat", usually a quarter note, of music.

Basic Figures or "Patterns"

• Underarm pass or Right-side pass: A six-count basic where the follower is led to the other end of the slot, passing on the leader's right (right side pass) or additionally under the leader's arm (underarm pass). Count: 1 2 3a4 5a6
• Left-side pass: A six-count basic where the follower is led to the other end of the slot, passing on the leader's left. Count: 1 2 3a4 5a6
• Tuck Pass: This is like a left side pass in six counts, but the leader creates a "tuck" action on 2 by turning the woman towards the man and then reversing her direction back toward the slot on count 4. Then the woman turns under the man's left arm on 5&6. The turn can be either a half turn or a turn and a half. Some teachers teach that the "tuck" is no longer led because it is difficult to follow. In theory, the Tuck action ought to function similarly to the wind-up before throwing a frisbee. Count: 1 2 3a4 5a6
• Sugar push or Push Break: A six-count "move" where the follower, facing the leader, is led from the end of the slot to a one or two hand hold, then led back to the same end of the slot. The seemingly very simple Push Break requires "compression" or "resistance", to make the pattern. While the arms remain firm but flexible, there should be no excessive pushing or pulling in the arms but in the body. The Sugar Push has been around since 1952. In some instances this sequence is taught as "The Six-Count Basic". Count: 1 2 3a4 5a6
• Whip: An eight-count basic with many variations. In a basic whip, the follower is led past the leader and then redirected (or "whipped") back towards the end of slot from which she (or he if a man is following) started. The basic footwork for a whip extends the six-count pattern by inserting a pair of walking steps between the triple steps. The footwork is therefore "step step tri-ple-step step step tri-ple-step." Count: 1 2 3a4 5 6 7a8

*source: Wikipedia

Slot

West Coast Swing is a slotted dance. The slot is an imaginary area, long and thin, eight or nine feet long if danced at a very slow Tempo, but shorter if the music is at a faster tempo. The follower travels back and forth in the slot dancing straight through the lead. The leader consistently moves a minimum amount (at mid-way point) to his sides, barely out of her way. She lightly brushes against him each time she passes him. Brushing seems rare these days though (2009).

Socially, it is considered good etiquette (particularly on a crowded floor) to use a fixed slot, in order to allow dancing without incident. Having danced the slot repeatedly, the couple "has a claim" on the area, and other couples usually cooperate and establish their own slot parallel with the dancers. If the dance floor is not crowded and the couple is afforded more space, such as during a competitive event, the dancers may move the slot around the floor more liberally.

There are urban myths regarding the origin of the slotted style. According to one version, it was an invention of Hollywood film makers who wanted “dancers to stay in the same plane, to avoid going in and out of focus”. Wide angle lenses with adequate depth of field for cinematography had in fact been available since the 1920s. A variation on the "Hollywood film maker" theme is that film makers wanted "to avoid filming the backs" of dancers. A viewing of films featuring the work of Dean Collins in the 1940s, and rock 'n' roll films made in the mid-1950s reveals the fact that dancers turn frequently and inevitably turn their backs to the camera. Although another unslotted swing dance, Balboa, became popular in the same area and under the same conditions, much has been made of "jitterbugging in the aisles" as a source of the slotted style.

Slotted moves were a common part of the step vocabulary of Lindy and/or Jitterbug dancers during the 1940s and 1950s. Rather than the walk, walk of West Coast Swing, however, two sets of triple steps were used when the woman moved down the slot, followed by a rock step rather than the current triple and anchor step.

Music

The origins of the dance that became known as West Coast Swing can be traced to the swing era. During this period many jazz, blues, and western musicians incorporated, or emphasized, the “swing” in their music. Writing in the "Arthur Murray Silver Dance Notebook", Lauré Haile, who first described "Western Swing", listed the following songs/records as "Good Swing or Fox Trot Records":

"String of Pearls" by Glenn Miller ((1942))

"Let's Dance" by Ray Anthony ((Capitol L-258)(1951))

"Be-Bop's Spoken Here" by Les Brown Columbia 38499 (4/14/49)

"Also Good Swing - but unusual Chorus "AABA":"

"One Mint Julep", Buddy Morrow, Victor 20-4869 (June/July 1952)

"Dry Bones", Tommy Dorsey, Victor 20-3523 (1949?)

Big Bands continued to flourish in the 1950s, touring, selling records, and appearing on radio and the new medium of television. As the decade wore on, however, many mostly younger listeners preferred to hear the simpler and (some say) noisier music given the name Rock 'n' Roll, and this music became known as the most popular music for dancing.

West Coast Swing-like moves can be seen in rock 'n' roll films made in that era. The film "Hot Rod Gang" shows West Coast Swing being done to the song "Dance to the Bop" by rockabilly musician Gene Vincent.

While teenagers preferred to freestyle dance through a constantly changing succession of discothèque social dance fads during the 1960s, adults kept Swing alive.

Western Swing was documented in the 1971 edition of the "Encyclopedia of Social Dance", listing the "Coaster Step" (with a forward step as the last step of the 2nd triple) rather than the Anchor Step. The one song that was listed for this dance was "Comin' On" by Bill Black's Combo (1964 Hi #2072).

In the mid-1970s, disco music and dancing repopularized "touch" partner dancing, and, in California, West Coast Swing was one of the dances of the era. By the 1990s country western dancers were dancing West Coast Swing to contemporary country western songs. West Coast Swing is now one of many dances done at country western venues.

In practice, West Coast Swing may be danced to almost any music in 4/4 time, and music of many different styles may be found in an evening of West Coast Swing dancing.

Styles

West Coast Swing can be danced to almost any music written in 4/4 time at speeds ranging from very slow to very fast; 15 to 45 Measures per Minute, ideally at 32 Measures per Minute (15x4=60 bpm, 32x4 = 128 bpm, 45x4=180 bpm). The character of the dance changes over that range. At the slowest speeds the dance tends to exhibit a highly elastic connection with the possibility of very sexy, "slinky" walks for the lady, and a slight backward leaning poise at the full extent of the connection. At faster speeds the partners become more upright and the connection shortens with more of a "push and pull" feel and look.

The "ideal" speed for WCS has been cited as 32 Measures per Minute (32x4 = 128 bpm), compared to advice to choose "records that are around 28 mpm" (28x4= 112 bpm) for "Western Swing".

In writing about West Coast Swing, Skippy Blair advises that, "The only problem that exists in SWING is when someone decides there is only ONE WAY to dance it. There is never only ONE WAY to do anything ..." "'Try on' different styles that you admire in other people...until you find the comfortable one that FITS YOU."

Dancing to different types of music gives a different feel and look.

A 1998 summary of "trends" in West Coast Swing listed the following: Traditional/Classic with very little extension of the uncoupled arm, the man moving off and on the center of the track for most moves, and a heavy "couple weight"; Modern with more free arm extensions, and emphasis on how many spins, etc., the man can lead. Fast Music The man's "couple hand" is fixed in space on beat 3 in a pass or push.

In 1994 Blair noted that the posture for men was more upright than in previous years.

*source: Wikipedia