Harmony College finished on Tuesday at lunch time. We gave a standing ovation to the Stage Coaches - Gina, Karen and Jane - for their inspirational classes. It was excellent education- as good as the Rumours workshop in Hobart two years ago but with a different focus. I'm looking forward to seeing the competition in Newcastle, and I hope that all the competing choruses and quartets will put what we learned from this Harmony College into practice.
It was fun to be at Convention and not be competing, but I'm glad I signed up for the STAR chorus and had a chance to perform.
Apart from the size of the theatre, which prevented some family and friends attending because there were no seats, it was a stunning venue: a very intimate theatre, with great technical support; a beautiful setting on the water; and lots of restaurants and cafes and accommodation within walking distance. Everything ran very smoothly (thanks to the Convention organisers).
There were just a small band of CKC here but we had a lot of fun together, cheering for Verve and Accolade, going to classes, partying in each others' rooms (with luxurious apartments and superb views over the ocean) and eating out together. I think we all got to know each other better and I loved sharing alll these experiences with Inese and Julia. We also caught up with our ex-CKC friends: Di, Sharon, Rosemary, Leanne, Laonie, Anita, and others.
This is the end of this blog - I'm starting a new one for my holiday in the South West with Pete and Sue.
Friday, May 21, 2010
Tuesday - Harmony College - Uh Oh Scenario
How to make your performance package a one act play.
Jane asks us to choose a ballad and an up tune and find a character in a movie that will tie the two together in one story.
Up tune: Beautiful Doll (Julia is singing to Richard)
Ballad: If I Give My Heart to You (when she kisses him)
Movie: Pretty Woman
Up tune: Diamonds are a Girls Best Friend (dress shop)
Ballad: If I Give My Heart to You (balcony when she says no)
Movie: Pretty Woman
Jane says we need to look at all the words in the lyrics to make sure they fit with the character we've chosen.
Up tune: How Many Hearts Have you Broken (lift scene)
Ballad: Do you love me really love me (breakfast)
Movie: Pretty Woman
Up tune: Oh You Beautiful Doll (Barbie singing to Buzz)
Ballad: What'll I do (toys are sad)
Movie: Toy Story
Up tune: Oh You Beautiful Doll (in bed)
Ballad: If I give my heart to you (street scene declaring love)
Movie: Bridget Jones Diary parts 1 and 2
Up tune: How Many Hearts
Ballad: If I Give My Heart to You
Movie: Bridget Jones Diary
Uptune: I Feel Good (winning world cup)
Ballad: Forgiven not Forgotten (Mandela forgiving football committee)
Movie: Invictus
Uptune: Red Red Robin (family try to cheer her up)
Ballad: If I Give My Heart (jumps off boat and swims)
Movie; Must Love Dogs
Uptune: Blue Guys Smiling At Me
Ballad: Oh How I Miss You
Movie: Avatar
(Note to self: must watch more movies!!!)
Jane asks us to choose a ballad and an up tune and find a character in a movie that will tie the two together in one story.
Up tune: Beautiful Doll (Julia is singing to Richard)
Ballad: If I Give My Heart to You (when she kisses him)
Movie: Pretty Woman
Up tune: Diamonds are a Girls Best Friend (dress shop)
Ballad: If I Give My Heart to You (balcony when she says no)
Movie: Pretty Woman
Jane says we need to look at all the words in the lyrics to make sure they fit with the character we've chosen.
Up tune: How Many Hearts Have you Broken (lift scene)
Ballad: Do you love me really love me (breakfast)
Movie: Pretty Woman
Up tune: Oh You Beautiful Doll (Barbie singing to Buzz)
Ballad: What'll I do (toys are sad)
Movie: Toy Story
Up tune: Oh You Beautiful Doll (in bed)
Ballad: If I give my heart to you (street scene declaring love)
Movie: Bridget Jones Diary parts 1 and 2
Up tune: How Many Hearts
Ballad: If I Give My Heart to You
Movie: Bridget Jones Diary
Uptune: I Feel Good (winning world cup)
Ballad: Forgiven not Forgotten (Mandela forgiving football committee)
Movie: Invictus
Uptune: Red Red Robin (family try to cheer her up)
Ballad: If I Give My Heart (jumps off boat and swims)
Movie; Must Love Dogs
Uptune: Blue Guys Smiling At Me
Ballad: Oh How I Miss You
Movie: Avatar
(Note to self: must watch more movies!!!)
Tuesday - Harmony College - Showmanship and Expression
SHOWMANSHIP (Gina)
Gina gives us a handout which is the Showmanship judging scoresheet. Notice that the judging criteria are listed under the headings of Performance and Preparation, and some appear under both headings.
Performance (what actually happened on stage):
Karen loves the Expression category, which includes everything. Expression is about how we add humanity to our music. She looks at the emotional content of songs, suitability, degree to which we produce sound, how story connects with audience
See Spot
See Spot run
Run, Spot, run.
Gina asks volunteers to read this:
Speaking the lyrics together is a great way to see where the phrasing and synch issues are.
Music is what drives us, lyrics are secondary to music.
Comments on synch are related to lack of synch within parts or across the chorus. Usually the problem is with word elements not being unified, but there are lots of reasons why this might be happening.
Karen says it makes her day when singers do something that expresses the feeling of the music.
To improve Expression points:
We want all chorus members to improve (;increase the percentages') and then the chorus will get better.
Each chorus and Director have their own culture and way of doing things. Whatever works for you!
Gina gives us a handout which is the Showmanship judging scoresheet. Notice that the judging criteria are listed under the headings of Performance and Preparation, and some appear under both headings.
Performance (what actually happened on stage):
- entrance/break/exit - choruses entrance is when the lights go up so they are not judged on walking on, but quartets are
- vocal skills - must support everything else
- unit - unit look of chorus - anything you can do that helps this (eg if just one person's hair is down and everyone else's is up, and it draws the judge's attention)
- audience rapport is assessed by the judge based on what she feels, not what the audience does - so if the judge is bored and loses interest, you lose points for audience rapport
- costume is only one of five criteria under preparation so don't get your knickers in a twist over costume. Costume is assessed objectively on fit, style, suitability, fabric, colour under stage lights, allowing focus to be on face: it's not assessed on judge's personal preferences
- check makeup and grooming in advance to identify wardrobe malfunctions, eg pantyline showing
- scoresheets say 'glimpses of creativity' - take more risks - your scores only last until the next contest
- makeup - it's not makeup but the application that is the usual problem - read the Judging Categories Book - if possible, check under stage lights in advance
- Director can wear anything as long as it complements the chorus
- Judges don't want to see anything they shouldn't be seeing from Director or front row so check beforehand
- The front row and people on the ends of rows should have uniform shoes, but the judge won't notice shoes on people in middle and back rows.
Karen loves the Expression category, which includes everything. Expression is about how we add humanity to our music. She looks at the emotional content of songs, suitability, degree to which we produce sound, how story connects with audience
- Sound category is about vocal production
- Music category is about what we do with the music
- Showmanship is everything visual
- Expression is about the words
See Spot
See Spot run
Run, Spot, run.
Gina asks volunteers to read this:
- as a beginner reader - focus is on consonants and vowels - C minus chorus
- as a second grader - focus is word by word, on pronunciation, enunciation and dipthongs - C plus chorus
- as a fifth grader - focus is on inflection and phrases - B chorus
- as a librarian reading to children - focus is on story, visualisation, inflection, texture, dynamics, energy, drama, tempo and rhythm - A chorus
Speaking the lyrics together is a great way to see where the phrasing and synch issues are.
Music is what drives us, lyrics are secondary to music.
Comments on synch are related to lack of synch within parts or across the chorus. Usually the problem is with word elements not being unified, but there are lots of reasons why this might be happening.
Karen says it makes her day when singers do something that expresses the feeling of the music.
To improve Expression points:
- work on unity
- sing lyrics on the same chord all the way through
- listen to recording without looking to hear synch issues.
- every member sings her part in a quartet with the music team, who give praise and constructive feedback. Members feel they are being coached raher than judged, and welcome the opportunity. Music team keeps track of who has done it. Notes, words and breathing are assessed. Some people need to be reassessed.
- The Director and Lead Section Leaders sing the contest pieces the way the Director wants them interpreted, for the chorus to practise against at home.
- Visual assessment.
We want all chorus members to improve (;increase the percentages') and then the chorus will get better.
Each chorus and Director have their own culture and way of doing things. Whatever works for you!
Tuesday - Harmony College - Vocal Motion
We did lots of physical warmups in this session with Gina.
We do vocal warmups to practise our vocal skills and we should do physical warmups to practise our physical skills. Physical warmups do several things:
Gina doesn't have names for standard moves because the move will be differently expressed depending on the character - need to teach move plus intention.
(Exercise: robot dance) (Exercise: different moves for different sections of the class). Aussies rock! And we need more fun and controlled abandon in performance, we are too careful on stage, we need more freedom (but don't give up on good vocal production)
We can also do physical warmups to barbershop uptunes which gives the chorus the opportunity to hear good barbershop. (Execise: Orange Coloured Sky).
We do vocal warmups to practise our vocal skills and we should do physical warmups to practise our physical skills. Physical warmups do several things:
- stress buster
- practise visual aspects of character (goes into, anchor, recovery) for a more energised look (exercise: being a backup singer)
- sharpens concentration to learn new moves quickly - rincluding some repetition is good to build confidence (exercise: split moves) - it's okay to have fun, don't worry about getting the moves right
- shortens learning time because they're doing more (Gina has people on her visual team who run the physical warmups, and also 'personal trainers' who encourage people to participate
- builds a repertoire of moves that can be used for choreo
- try out moves and find out what works for your chorus, also an opportunity for people who want to be on the visual team to practise and show what they can do
Gina doesn't have names for standard moves because the move will be differently expressed depending on the character - need to teach move plus intention.
(Exercise: robot dance) (Exercise: different moves for different sections of the class). Aussies rock! And we need more fun and controlled abandon in performance, we are too careful on stage, we need more freedom (but don't give up on good vocal production)
We can also do physical warmups to barbershop uptunes which gives the chorus the opportunity to hear good barbershop. (Execise: Orange Coloured Sky).
Monday - Harmony College - What's So Funny
Jane says choruses like doing comedy but it is the hardest form of theatre to perform and direct. Approach comedy the same as drama - all Swthe same rules apply. The serious intention of the character is at the heart of comedy.
Sweet Adelines comedy is lousy. Comedy isn't just something anyone can do, it needs good technique.
Comedy is the reverse of tragedy. In both the protagonist is up against something (man, nature or society). In comedy the protagonist has friends, in tragedy she/he is alone. Tragedy ends tragically but comedy ends in marriage, nobody dies and the conflict is resolved.
Jane gives us three examples:
We don't understand how comedy works.
Acting is just like real life only louder.
Comedy needs to move faster, not slower - don't wait for the audience to get the joke.
Comedy is very individual - it's hard.
Marx Brothers - are brilliant and funny but different, not character driven, don't fit into standard forms of comedy.
The most successful comedy is when the people have no idea they are funy to us. They are believable, fully formed human beings who take themselves seriously.
Comedy that tries to get you to laugh fails. All you can do is create an environment where people might laugh.
Sweet Adelines comedy is lousy. Comedy isn't just something anyone can do, it needs good technique.
Comedy is the reverse of tragedy. In both the protagonist is up against something (man, nature or society). In comedy the protagonist has friends, in tragedy she/he is alone. Tragedy ends tragically but comedy ends in marriage, nobody dies and the conflict is resolved.
Jane gives us three examples:
- A husband is kicked out (Odd Couple)
- Two friends witness a murder (Some Like It Hot)
- A woman's marriage almost fails because of her relationship with her mother (Barefoot in the Park)
We don't understand how comedy works.
- Soapdish - is about getting older and being pushed out
- Trading Places - is about how heredity vs environment shapes a person
- His Girl Friday - is about a woman doing a man's job
- Harry and Sally - is about men, women and dating
Acting is just like real life only louder.
Comedy needs to move faster, not slower - don't wait for the audience to get the joke.
Comedy is very individual - it's hard.
Marx Brothers - are brilliant and funny but different, not character driven, don't fit into standard forms of comedy.
The most successful comedy is when the people have no idea they are funy to us. They are believable, fully formed human beings who take themselves seriously.
Comedy that tries to get you to laugh fails. All you can do is create an environment where people might laugh.
Thursday, May 20, 2010
Monday - Harmony College - Whose Song Is It Anyway?
Jane gives us an exercise to do in small groups: choose a song, and then find a character and a movie for the song.
Song: Never Say Never
Movie: Hello Dolly (Dolly makes a living through matchmaking . She is currently seeking a wife for grumpy Horace Vandergelder (Matthau), the well-known "half-a-millionaire," but it becomes clear that Dolly intends to marry Horace herself.) Scene where Dolly is saying goodbye to her friends at the railway station.
Song: Once Upon A Time
Movie: The Notebook (In a modern-day nursing home, an elderly man named Duke begins to read a love story to his elderly woman companion from a book he carries.)
Jane comments that it's difficult to perform a song through the role of a male character, and also that the part of the story they've chosen is sad and they might need to choose a happier section of the movie. In ballads, try to get away from singing sad stories and look for something empowering.
Song: Make 'Em Laugh
Movie: Patch Adams (the story of Hunter "Patch" Adams , a medical doctor who became famous for his unconventional approach to medicine - particularly the court scene where Patch is rejected by his colleagues but his patients support him).
Jane says we might have trouble identifying with Patch as a character. What about female comedians: Fanny Brice, Lucille Ball, Carole Burnett, Judy Garland (The Pirate)
Song: Anything Goes
Movie: Chicago (character of Valda)
Song: If I Give My Heart to You
Movie: Notting Hill
Jane asks if we can see Julia Roberts' character singing this song ... does it work for you?
Song: At Last
Movie: Cadillac Records (about Chess Records and a love story in which love is realised but not acted on)
Song: Anything Goes
Movie: Great Gatsby
Character is Daisy (played by Mia Farrow). Jane asks who is singing this song, and to whom.
Song: Sweet Georgia Brown
Movie: Chicago (character of Mama Morton) and an imagined audition scene
Jane says why not use Chorus Line
Song: Once Upon a Time
Movie: It's Complicated
Married couple who are divorced then have an affair
Song: ?
Movie: In and Out (about a teacher who announces at his wedding that he is gay)
Jane says that good comedy has something serious underneath
Song: If I Give My Heart To You
Movie: Sleepless in Seattle
Jane also suggests An Affair to Remember, the original movie
Song: Yesterday
Movie: Out of Africa
Jane says this song fits literally but not really because the era of the song doesn't match the era of the movie
Jane says the song has to match the personality of the character and the character also has to match the personality of the chorus
Song: If You Really Love Me
Movie: Mamma Mia
Song: Never Say Never
Movie: Hello Dolly (Dolly makes a living through matchmaking . She is currently seeking a wife for grumpy Horace Vandergelder (Matthau), the well-known "half-a-millionaire," but it becomes clear that Dolly intends to marry Horace herself.) Scene where Dolly is saying goodbye to her friends at the railway station.
Song: Once Upon A Time
Movie: The Notebook (In a modern-day nursing home, an elderly man named Duke begins to read a love story to his elderly woman companion from a book he carries.)
Jane comments that it's difficult to perform a song through the role of a male character, and also that the part of the story they've chosen is sad and they might need to choose a happier section of the movie. In ballads, try to get away from singing sad stories and look for something empowering.
Song: Make 'Em Laugh
Movie: Patch Adams (the story of Hunter "Patch" Adams , a medical doctor who became famous for his unconventional approach to medicine - particularly the court scene where Patch is rejected by his colleagues but his patients support him).
Jane says we might have trouble identifying with Patch as a character. What about female comedians: Fanny Brice, Lucille Ball, Carole Burnett, Judy Garland (The Pirate)
Song: Anything Goes
Movie: Chicago (character of Valda)
Song: If I Give My Heart to You
Movie: Notting Hill
Jane asks if we can see Julia Roberts' character singing this song ... does it work for you?
Song: At Last
Movie: Cadillac Records (about Chess Records and a love story in which love is realised but not acted on)
Song: Anything Goes
Movie: Great Gatsby
Character is Daisy (played by Mia Farrow). Jane asks who is singing this song, and to whom.
Song: Sweet Georgia Brown
Movie: Chicago (character of Mama Morton) and an imagined audition scene
Jane says why not use Chorus Line
Song: Once Upon a Time
Movie: It's Complicated
Married couple who are divorced then have an affair
Song: ?
Movie: In and Out (about a teacher who announces at his wedding that he is gay)
Jane says that good comedy has something serious underneath
Song: If I Give My Heart To You
Movie: Sleepless in Seattle
Jane also suggests An Affair to Remember, the original movie
Song: Yesterday
Movie: Out of Africa
Jane says this song fits literally but not really because the era of the song doesn't match the era of the movie
Jane says the song has to match the personality of the character and the character also has to match the personality of the chorus
Song: If You Really Love Me
Movie: Mamma Mia
Monday - Harmony College - Choreo Rap
Damn, I thought I'd already written this session up but I seem to have mislaid it.
Gina talks about various techniques for teaching choreo. She says she teaches the whole visual plan for a song in one night. She has a visual team to support her, with lots of different people. She changes to team regularly so no one feels they 'own' their place on the team. Use people's strengths on the team (but not everyone can teach).
Gina no longer lives close to her chorus, so she only visits each six weeks. While she teaches the visual plan herself the first time, after than the team takes over.
PRESENTING THE INITIAL PLAN
1. Know the choreo plan
2. Focus on the big picture, not the details - gross motor movements, not 'which way do I hold my hand?'. Don't fuss with details. If the chorus is struggling with a move you have to be able to let go of it, no matter how much you like it - or change it, or change the timing. Read the judging book and know what judges are looking for.
3. Land moves on the vowel, not the consonant (Dixie Dahlke) so they're not hitting the consonant so hard. Go with the chorus's strengths, not what you personally like
4. Teach mirror image so you can watch the chorus as you teach. Learn to do this by standing in front of a mirror.
5. Identify the 'goes into' and the 'anchor'for the chorus as this creates unit and energy (eg 'I never' is the goes into, 'knew' is the anchor); and also identify when the recovery happens so that that is purposeful and intentional too.
6. Keep the teaching moving, don't get bogged down because at the initial stage you are just trying it out and they won't remember the detail anyway
7. Compliment individuals by name, then everyone will want their name called. Try to catch them doing something right and recognise it even if it's just a small improvement for some people (eg 'there you go, that's coming along'). Also use video recording for feedback.
8. Concentrate on the character, not the mechanics of the move.
BIG PICTURE
1. Look for unity not precision. You will get helpful people telling you other chorus members are doing it wrong, but it may not be a problem for unity from where you stand out the front. Just make sure your eye is not drawn to someone because they're not part of the unit.
2. Judges see the performance only once, for the first time, and they are evaluating and writing at the same time. Don't worry about the fine detail, it's only a problem if your eye is drawn to it. [But sometimes for particular moves precision and detail does matter.] Chorus members should do the plan as taught, but must not look guilty if they do it wrong.
3. Video your chorus and turn the sound off and watch it.
4. Video the choreo (mirror image) and put it on the website so the chorus can practise; also write choreo instruction sheets for people who learn better this way
WORKING THE CHOREO
1. Gently correct (they're not trying to do it wrong). Run pre-rehearsal choreo sessions initially but stop at some point so they are not leaning on you instead of working on their own
2. Teach by coaching: praise success and then suggest how to do it even better. Gina's chorus has visual evaluations which are done by videoing the chorus and then the visual team grades individuals using a grading sheet - what they did well, what they have to improve ('now work on this ...')
What about people who try to correct others on the risers? Gina says to them 'I will let you know if I see a problem - don't worry')
3. Make 'adjustments' not 'changes' to choreo. Pack the moves in initially, and then the chorus is thrilled when you take some moves out. The choreo instruction sheet is updated and reissued when the choreo changes.
4. Refine premoves (goes into) and anchors
5. Show the wrong way as well as the right way and make the chorus try both so they know the difference. Don't say things like 'more energy' or 'do more' because they interpret that in different ways
6. Do choreo at warp speed to clapping, on fast forward, to find out how well they know it (this is a technique taken from acting). When they do it at normal speed the tempo will be better. It will also break them out of bad habits and get them to think fast.
7. Overdramatise - like cartoon characters- they will almost never go too far
Does Gina get questions from the risers? Almost never. If they start talking among themselves she will say 'Don't worry about it, I will let you know if there's a problem.'
How long is spent teaching choreo? 30 - 45 minutes on the first night with Gina trying it on (not counting the front row, who work separately with their own front row visual team leader), then pre-rehearsal choreo sessions of 30 minutes with the visual team, then less and less. When Gina is teaching the first session, the visual team are on the risers learning. At any one point there is just one teacher out the front.
Pointing moves do require precision.
Pre-rehearsal choreo sessions are not compulsory because people can practise at home with the video if they prefer.
If you teach the 'goes into' and 'anchor' and 'recovery' they will rarely be late with moves.
How do you do a forlorn line without losing energy? Don't call it sad because the face and palate will drop. Find other words that have more energy.
How do you teach new members the choreo? They learn from the video recording.
Gina talks about various techniques for teaching choreo. She says she teaches the whole visual plan for a song in one night. She has a visual team to support her, with lots of different people. She changes to team regularly so no one feels they 'own' their place on the team. Use people's strengths on the team (but not everyone can teach).
Gina no longer lives close to her chorus, so she only visits each six weeks. While she teaches the visual plan herself the first time, after than the team takes over.
PRESENTING THE INITIAL PLAN
1. Know the choreo plan
2. Focus on the big picture, not the details - gross motor movements, not 'which way do I hold my hand?'. Don't fuss with details. If the chorus is struggling with a move you have to be able to let go of it, no matter how much you like it - or change it, or change the timing. Read the judging book and know what judges are looking for.
3. Land moves on the vowel, not the consonant (Dixie Dahlke) so they're not hitting the consonant so hard. Go with the chorus's strengths, not what you personally like
4. Teach mirror image so you can watch the chorus as you teach. Learn to do this by standing in front of a mirror.
5. Identify the 'goes into' and the 'anchor'for the chorus as this creates unit and energy (eg 'I never' is the goes into, 'knew' is the anchor); and also identify when the recovery happens so that that is purposeful and intentional too.
6. Keep the teaching moving, don't get bogged down because at the initial stage you are just trying it out and they won't remember the detail anyway
7. Compliment individuals by name, then everyone will want their name called. Try to catch them doing something right and recognise it even if it's just a small improvement for some people (eg 'there you go, that's coming along'). Also use video recording for feedback.
8. Concentrate on the character, not the mechanics of the move.
BIG PICTURE
1. Look for unity not precision. You will get helpful people telling you other chorus members are doing it wrong, but it may not be a problem for unity from where you stand out the front. Just make sure your eye is not drawn to someone because they're not part of the unit.
2. Judges see the performance only once, for the first time, and they are evaluating and writing at the same time. Don't worry about the fine detail, it's only a problem if your eye is drawn to it. [But sometimes for particular moves precision and detail does matter.] Chorus members should do the plan as taught, but must not look guilty if they do it wrong.
3. Video your chorus and turn the sound off and watch it.
4. Video the choreo (mirror image) and put it on the website so the chorus can practise; also write choreo instruction sheets for people who learn better this way
WORKING THE CHOREO
1. Gently correct (they're not trying to do it wrong). Run pre-rehearsal choreo sessions initially but stop at some point so they are not leaning on you instead of working on their own
2. Teach by coaching: praise success and then suggest how to do it even better. Gina's chorus has visual evaluations which are done by videoing the chorus and then the visual team grades individuals using a grading sheet - what they did well, what they have to improve ('now work on this ...')
What about people who try to correct others on the risers? Gina says to them 'I will let you know if I see a problem - don't worry')
3. Make 'adjustments' not 'changes' to choreo. Pack the moves in initially, and then the chorus is thrilled when you take some moves out. The choreo instruction sheet is updated and reissued when the choreo changes.
4. Refine premoves (goes into) and anchors
5. Show the wrong way as well as the right way and make the chorus try both so they know the difference. Don't say things like 'more energy' or 'do more' because they interpret that in different ways
6. Do choreo at warp speed to clapping, on fast forward, to find out how well they know it (this is a technique taken from acting). When they do it at normal speed the tempo will be better. It will also break them out of bad habits and get them to think fast.
7. Overdramatise - like cartoon characters- they will almost never go too far
Does Gina get questions from the risers? Almost never. If they start talking among themselves she will say 'Don't worry about it, I will let you know if there's a problem.'
How long is spent teaching choreo? 30 - 45 minutes on the first night with Gina trying it on (not counting the front row, who work separately with their own front row visual team leader), then pre-rehearsal choreo sessions of 30 minutes with the visual team, then less and less. When Gina is teaching the first session, the visual team are on the risers learning. At any one point there is just one teacher out the front.
Pointing moves do require precision.
Pre-rehearsal choreo sessions are not compulsory because people can practise at home with the video if they prefer.
If you teach the 'goes into' and 'anchor' and 'recovery' they will rarely be late with moves.
How do you do a forlorn line without losing energy? Don't call it sad because the face and palate will drop. Find other words that have more energy.
How do you teach new members the choreo? They learn from the video recording.
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