Lifts - Lunge to Lift
When you are mixing it up for the audience and you have to create: change, change, change, change, change, one of the things they experience as different is the follower being at different levels: low on the floor, standing upright, up in the air.
- Artist Name:
- Gideon Kremer
- Song Title:
- Celos
- Album Title:
- Hommage a Piazzolla
- Artist Website:
- http://www.kremerata-baltica.com/
(From the website): Kremerata Baltica, a chamber orchestra, was created in 1997 by renowned violinist Gidon Kremer, who serves as the orchestra's artistic director and solo violinist. The high artistic quality of the ensemble is the result of the exceptional talent of the individual musicians and Kremer's innovative approach to repertoire.
- 00:05
- So, on to our third lift.
- 00:07
- And, I'd like to take an aside, to say, the previous chapter had this whole, sort of, world of possibilities, of lifts.
- 00:13
- And we've given you... This will now be your third example. But, we'll have some additional chapters.
- 00:18
- Breaking down examples, which use different concepts.
- 00:22
- But, Malakai, Jessica.
- 00:43
- Yes, exactly.
- 00:48
- So, if we break that down, it starts side/trap. Just like any of the other traps we've taught.
- 00:54
- So, his foot has to beat hers. So, sideways to the camera, we have:
- 00:59
- Side, his foot gets in there. With his right arm, he lifts up along her back,
- 01:04
- A little bit with his left arm, but more with his right. And that causes her leg to go up along his body.
- 01:09
- He places her arm around his neck.
- 01:12
- Gets a firm-firm hold.
- 01:15
- And then, goes back into a lunge.
- 01:17
- For the ladies, right here, she's pulling down, from her shoulder blades.
- 01:22
- Her arms are into... Hands are interlaced, making them stronger. He's got the leg, so it doesn't slip.
- 01:27
- Then, right there, to make it into a lift, all he has to do is, with his right thigh, push her leg up a little bit.
- 01:34
- She points, he lunges a little further. And it's breathtakingly beautiful.
- 01:40
- Just as I said in the previous chapter, the body mechanics make it really work. So, as I'm doing this,
- 01:57
- Right here, if he lets go with both hands... And I can almost let go, because my legs are taking so much of the weight.
- 02:05
- So, as we do that, I want the ladies to be aware, there's this instinct to grip with the arms.
- 02:11
- But, you really don't have to grip with the arms. I mean, you use the arms for balance, not for... actual muscle, or for weight.
- 02:19
- So, as we're here, if she lifts with the leg... Right here, let go of both arms.
- 02:25
- And, this is all I need, which is not very much. Because so much is going through her legs.
- 02:32
- You want to use more than you need with the arms, so it feels very secure.
- 02:36
- But the weight, once again, is happening through the legs. And the arms are to make it feel very secure.
- 02:40
- The... When you pull with your arm... And, do this at home.
- 02:45
- If you pull with your arm up here. Pull down. You don't have much force.
- 02:49
- If you pull with your arm down here, you have a lot of force. You know, she drives me to the floor.
- 02:55
- Man, Jessica. So, when she does this, when she wraps around... If she wraps around like this... Actually, let's go...
- 03:03
- If she wraps around my neck like this, with the elbow up, she doesn't have much force. It's hard for her to pull down.
- 03:08
- If she grabs here, with the elbow down, she has a lot of power.
- 03:13
- Likewise, on the other side. We're here,
- 03:15
- If I come... As a leader, if... I'm doing this wrong, if I come up like this,
- 03:20
- She can't pull down with her left shoulder. She doesn't have much power.
- 03:23
- If I come here, and she can keep that shoulder down, she has a lot of strength. And she can help too.
- 03:28
- So, while I'm saying it's not about the arms, I want you to have powerful body mechanics.
- 03:32
- So, show one last time.
