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Twist

Hold at the either ends, and twist it in one direction and then in the other. In the twist-exercise the body is turned almost exactly as such.

General
Stand erect with feet and the toes together. Body weight is equally distributed on both the feet. Flexing the knees forward and simultaneously lift the heels as high as possible such that one's height remains unchanged. The body weight is taken on the inside edge, more precisely on the ball of the foot, immediately behind the big toe. Look at eye level at a point and never remove the eyes from there through out the exercise.

Turn the feet and the hip to the left and simultaneously turn the shoulders slightly to the right. After the turn has reached the maximum then turn the feet and the hip to the right and simultaneously turn the shoulders to the left.

Do this exercise for about 100 counts. Aim for smoothness and harmony and the correct required movements will set in automatically. Start from a slow speed and steadily increase the speed till one reaches a rhythm that is most convenient.

If new to this exercise one will invariably experience pain in the solar plexus, the region where the bottom most ribs from the either sides meet. Some times, usually after a bit of experience the pain could be felt just behind the shoulders. In either of the case, one should try to relax, and if the pain persists, then stop.

It is like the tooth pain. Even if the front teeth are actually paining, many a times only the teeth at the far back pain, and along with that there could be a head and earache. Almost similar is the case of pain in different regions of the body instead, before one gets used to the exercise of twist.

Importance
For any and every movement where feet are concerned the hip has to move around a certain point at the backbone. Imagine that from this point all the movements such as stretching, bending forward and backward or sideways, or turns occur. This point is approximately one inch below the navel, and straight behind at the backbone. Since we have many type movements from this point, it is likely to wear out faster. The body replaces these worn out parts with stronger material that is stiffer. This is similar to dough which if left of some time a hard casing develops on the surface. Re-kneading the dough is needed to soften it and get the homogeneity. It is this part that gets stiff in a human body due to not exercising the correct movements, and this is what people refer to when they say "I am a bit stiff".

This can be compared with a vehicle that has the drive and the steering on the front wheels. The wear of the joints of the front wheels in such cases, is more as compared to conventional vehicles that have drive on the back wheels and the steering on the front wheels. This can be seen in the van, Matador, manufactured by Bajaj Tempo (India) Ltd. Such old worn out parts can be replaced, however one will experience a bit of inconvenience till the new parts wear in. This is not to down grade the vehicle in question. It has it's own advantages like the fuel efficiency and ease of manoeuvrability, especially when overloaded.

In a body the strength is achieved at the cost of flexibility. With age we tend to become more and more stiff as subconsciously we tend to aim for strength. The important part is to have a combination of certain strength and flexibility.

The best way to experience this is to walk for some time and to get the feel. After this is to perform the twist for about 50 to 100 counts, and then to walk as done earlier. A distinct change would be felt. It would be as if one is able to more absolutely without any hindrance.

Once we start walking it becomes so much a part of our daily activities that we stop thinking of it. It is necessary so we simply go about the problems as they arise with ageing, that we simply take it in our strides as the saying goes without giving it a second thought. Thus the resistance that come when walking do not take a priority, and we nonchalantly adjust with it. Thus when one does this exercise the result being a smooth flow in the walk, is definitely a big revelation which becomes tremendously awe-inspiring.

The foot when considered, as an individual part of the body is quite heavy, and some effort is needed to move it. Also to move the feet many other body parts need to move to counter balance this movement. Thus when the foot is moved the hip rotates more easily and the hand moves to counter balance on the other side of the centre gravity of the body. This harmonious movement gives the feel of the smooth movement.

Against a Bar
Hold with both the hands at one's elbow level on a firm horizontal bar, and twist. One should get the feeling that the twist is occurring due to push/pull from the arms. Thus because of a slight force from the upper body, particularly the shoulders the lower body is twisted.

Stand square to the bar, and take the starting position. We will refer his position as the normal position. When the left hip moves towards the wall, the right hip is moving away from the bar. At a certain stage the hip turning forces the shoulders to turn as well. This will result in a push force developing in the left arm and similarly a pull force developing in the right arm. As the hip is turning and comes to a maximum turn, the forces in the arms too are steadily developing to a maximum. As soon as the maximum is reached give a slight additional force from the shoulders such that one pushes with the left hand and simultaneously pulls from the right hand. This will first bring the upper body to normal position, which in turn will make the hip twist to the opposite side. As soon as the body starts to move the force in the arms should be immediately relaxed. The hips keep turning to the normal position, while the shoulders have already turned into that position much earlier. The hips keep turning from this normal position to the other side and all the above process is repeated once again on the other side.

In Pairs
Stand square to a dancing partner in the starting position as descried above. Hold each other by the hands. The man stretches his hands forward with his fingers pointing towards each other so as to get a hold on to a pair of vertical bars separated by almost a shoulder distance. The lady stretches her hands to hold the partner in a fashion as if to hold a horizontal bar with fingers pointing downwards.

The man pushes from the base of the thumb and the lady from the knuckles. For the pull force both pull at each other with the fingers.

When the fingers are relaxed they curve with a gap between the base of the thumb and the tip of the fingers. The man uses this gap to indicate with the help of the fingertips of a pull or a push that is eminent. Also this gap acts as a buffer to absorb the shock of the pull or the push force. The time to act is although instant of a second it still gives sufficient time lapse for each dancing partner to have independent movement, such that both are still in the very framework of the Dance-Sport and that all the movements are still interdependent.

The hands remain almost in the same position in space and the movement of the shoulders is bare minimum, however the hips twist to great extents. The pull and the push forces remains more or less the same, even when practising with a partner, just as when practising against the firm horizontal bar.

For Dance: Variation
When twisting perform the exercise only on one foot, although both the feet remain together. After every count of four, change the foot carrying the body weight.

Imagine that for the count of one, the foot is pointing outwards in one direction. Next is to turn then the next count is applicable. Thus in reality the counts would be like 1, turn, 2, turn, 3, turn, 4, turn, then change weight from one foot to the other and count 1, and then turn, 2, turn.... And so on.

Specific for a Dance (1,2,3,4,5,6)
The counts here will be from 1 to 6. Thus if one starts on the right foot then the count of 1 will always come on the right foot. Similarly start practice on the left foot.

This pattern will help for the majority of the dances.

Specific for a Dance (1,2,3,4,1)
This is same as for the above exercise except that for 4, and 1, one twists on the same foot. For the count of 2 the change of weight occurs.

This pattern will help in particular the Rumba, Cha Cha Cha and Tango to a large extent.

Twist Walk
The feet are kept tight together, however the twist is done only on one foot. Keep weight on the right foot and twist to the right, such that both the toes will point to the right. As soon as the twist is effected instantly transfer weight on to the left foot, and simultaneously lift the right foot just off the ground.

As soon as the body weight is transferred the count is applicable. Thus the counts in actual would be "twist, 1, twist, 2, twist, 3, twist, 4..." and so on. The twist part is understood and so it is not uttered, and only the numbers are stressed upon and counted.

This action will make one move continuously forward. To change the direction of movement, do not transfer weight for one count. Thus when twist walking count up to eight. And every time for the count of eight, do not transfer the body weight, however all the other movements should be in continuity and rhythm. This will facilitate movements forward for one set of eight counts and then back for the next set of eight counts. This way one will get balanced practice for the forward and backward movements.

This exercise is an individual one.

Chicken Walk
This is almost similar to the twist walk.

For the purpose of this exercise the counts are up to 4, and the starting position is with the weight on the right foot. Thus the counts would be "twist, 1, twist, 2, twist, 3, twist, 4". Also draw an imaginary straight line on the floor, on which one would be stepping upon for every step.

Standing on the imaginary line on the right foot, with the left foot close to the right foot, and just off the floor. Twist to the left on the right ball, and simultaneously move the left foot forward. The left foot lands on the imaginary line and transfer full body weight on to it for the count of 1.

In this position both the feet remain parallel and turned to the left at 45 degrees with respect to the imaginary line. Upper part of both the thighs remain in tight contact, and the knees could be touching each other or are very close. The upper body should be erect, and one should be looking straight ahead, in line with the imaginary line and at eye level, and never remove the eyes from this point through out the exercise.

Next twist to the right on the left foot at 90 degrees, and move the right foot forward, and take weight on to it for the count of 2.

Here, as one starts to twist to the right on the left ball, the right foot starts to move forward. When the left toe is in line with the imaginary line both the feet are together and pointing in the same direction. As the left foot continues to twist further to the right, the right foot travels further forward.

Repeat this exercise till the count of 4. Here the right foot is moved forward but do not transfer the body weight on to it, however the twisting is continuous. Next, move the right foot back for the count of 1.

In this position the body weight would be on the right foot, and both the feet would be pointing to the left. The left foot being ahead of the right foot and both the feet remain parallel to each other.

Now one begins to travel backwards.

Variation Teaching Pattern for Chicken Walk
Draw a line on the floor, which is perpendicular to a reference wall. Stand with the left foot forward and the line should pass from the center of both the feet. Now twist of the left with the feet in place. The upper thighs are now in contact.

Now take weight on the right foot, and bring the feet together and at face the front and the shoulders are square to the reference wall. The line passes from the center of the right foot and this is the starting position now.

From this position twist to the left on the right ball and simultaneously move the left foot to the front. Take part weight on the left foot and count 1. In this position both the feet are apart, parallel, turned at 45 degrees to the left of the line and in place on the floor.

For 2, move the left foot back to the right foot and simultaneously twist on the right ball to right to come square to the reference wall. Here the feet are parallel, together and in line with the line on the floor.

For 3, keep twisting to the right on the right ball, and move the left foot back. Take part weight on the left foot and count 3. In this position both the feet are parallel, apart and turned to at 45 degrees to the right with respect to the line drawn on the floor.

For 4, twist to the left on the right ball and bring the left foot to the right foot. In this position both the feet are together, with the weight still on the right foot, feet are in line with the line on the floor, and one is square to the reference wall.

Now the whole exercise can be repeated.

Similarly for the other side, the right foot is kept free and is moved forward and backward. The twist would be on the left ball, first to the right for the forward movement, and then to the left.

This simpler version should help one understand the mechanics better, to be able to perform the above exercise with better confidence and comfort.