When you first start taking lessons in ballroom dance (or social dance) you probably think that you would do better conentrating on just one dance. I hear this constantly from beginners. They just don't understand why I seem to deliberately confuse them with other dances. It seems like they start doing the basics of one dance, gain a little bit of confidence, and are finally able to do those basics but not consistently without mistakes. So why muddy the waters with a totally different dance?
Over the years I have tried different formats for my students, trying to discover which works the best. Experience has proven to me that concentrating on solely one dance, no matter the dance, is not the best approach. Beginners especially reach a point of overload --- because dancing is a physical activity. Any physical activity requires practice and with ballroom dancing we are talking about two people learning to move together in harmony.
Let's say you want to learn to play golf. You take some lessons from a pro, get some tips on stance and swing and hold and timing. Great, but taking lessons doesn't make you a good golfer ---- practice and consistent effort is required. You may know in your head what you are supposed to do, but the old body may not cooperate!! It takes hours on the golf course, more lessons, and helpful hints to improve your game. You are dealing with your own physical movement and an inanimate object ---- it's just you and the golf club out there trying to hit that little ball. How likely is it that you will do absolutely everything the golf pro suggested and do it perfectly? Not very likely. That's because you won't remember everything that was suggested, you will not be able to absorb all the information given to you. Some things will register, some things you won't even hear, or if you do hear it you may not fully understand how to put it into practice. When you are first learning something you have limited experience and may not be able to relate the information to the little bit that you know. You hear it, but don't fully understand the implications. It's all too new.
Now imagine that you are learning to play golf with another person holding that club with you!! Now it becomes even more complicated because now we are talking about two people trying to absorb information and trying to physically perform ---- and trying to coordinate everything and move in tandem!!
If learning to dance were like learning in a classroom maybe the average student would do better to concentrate on one dance at a time. But in dance class you aren't sitting taking notes and memorizing details. You are memorizing and having to get the information into your brain and travel on down to those tootsies! And hope that your partner has done the same!!
It's all new to you, the patterns are new, the experience is new, and your brain can only absorb so much. You have to take in a limited amount of information, but then give your muscles time to use it with practice. You have to have time to practice the basics, the fundamentals of the dance, and have time to learn to adjust to your partner and adjust to the rhythm of the dance.
The wonderful thing about ballroom dance is that all the dances are related to each other in some way. When you learn a Left Turn in Fox Trot it is the same Left Turn you will learn to use in Slow Dance, Merengue, and Waltz. When you learn a basic Box Step in Waltz, it is the same footwork you will put into practice in Rhumba, FoxTrot and Samba, and eventually even in Tango --- that half box gets around!! Although you are learning a different dance with a different rhythm, your body is building muscle memory by repeating the same movements over and over. When you learn the Slow-Quick-Quick of Rhumba you are helping yourself to prepare to learn the Quick-Quick-Slow of Salsa, and for those same rhythms to be used in other dances along the way. When you hold your frame in one dance, you are practicing closed position in other dances. Every time you put effort into practicing one dance, you are really practicing other dances at the same time.
The Basics or Fundamentals of each dance are called Basics because they are the easiest for beginners. If you were to concentrate on just one dance you would be forced to move beyond those basics before you are really mentally and physically ready. I have tried doing 6 or 8 weeks of one dance, and in classes that were not beginners. Every person there reached a point of overload by about the 5th week. It really is best to learn a limited number of patterns and then have time to assimilate what you've learned without additional stuff to worry about. Every good cook knows that sometimes a sauce needs to simmer slowly and let the flavors develop and blend. It's the same with dancing!!! When you are in class learning the basics of Waltz, those basics of Rhumba are on the backburner simmering away. You and your partner learn the basic steps of Cha Cha and the triple steps and hand leads of Swing are blending and burbling on the backburner of your mind. So-----keep learning the basics of the various dances and realize that you are actually letting it all "simmer"!!!
Sunday, October 23, 2011
Wednesday, October 19, 2011
Do You Hop When You Hustle??
When I was newly divorced I attended a dance in the area and was thrilled to be out on the dance floor once again. Someone asked me to dance the Hustle. I didn't know the dance, but figured I could follow. I did follow without much of a problem ---- in fact, every time he hopped on the "&1" I hopped right along with him. Leaving the dance floor, I decided I absolutely hated the Hustle because that horrible hop made me feel totally ridiculous. Oh, I would dance it if asked, but just couldn't get motivated to hop along.
Soon after that dance, I attended another and met my dance partner, Steve, who just loves the Hustle. He was working on a syllabus and launching a business as an independent instructor, so we worked on Hustle. And that hop was definitely not supposed to be part of the dance!! What a relief!! Now I could love Hustle too.
Most people look at Hustle as a dance similar to Swing. I guess it is, because after all it is derived from West Coast Swing, a sort of "spinoff". But the dance has evolved through the years and now in many ways is related to FoxTrot. When doing the Hustle you should be using heel leads and walking steps, just as you do in FoxTrot. You want fast turns of course, but done smoothly. Think elegance on the floor as the leader leads and the lady follows.
That's the fun and the challenge of Hustle. Intricate underarm turns done quickly and smoothly, one following right after another. The Leader has to know how to correctly lead the turns and the correct time to lead the turns. Sometimes you are dancing to fast music ---- it is especially important for the Leader to have relaxed arms that allow the Lady to perform the movements asked of her.....no strong-arming and no pushing, pulling or knocking her off balance!! The Leader uses "fingertip leads", with tone in the fingers & wrists, but not in the arm. Ladies need relaxed arms too or they will make those turns much harder on themselves than need be.
I recently danced Hustle with several men who had all taken lessons at the same studio.....each one thought he was supposed to force the woman through those turns & moves and it was brutal --- and at times actually painful!!! I cannot stress enough the need for light relaxed leads that happen on the correct count. The beauty of Hustle is that the patterns & movement facilitate the turns if done correctly. If done incorrectly it can feel a lot like wrestling!! Maybe that's why we have a pattern called the Hammerlock?
Huslte is a popular dance with the West Coast crowd. They like to style it up when they Hustle and the style is always the arm stuck straight out. Hey, I'm all for styling, but am not a fan of the straight arm. I personally think it takes away so much of the elegance of the dance, and instead would opt for a softer arm. There is a beauty to the give and take of partners on the floor, the lead and the immediate response, the seeming effortlessness despite the fast turns, whether you are dancing the slower 3-count version or dancing to the steady rhythm of the 4-count. And whatever you do -------DON'T HOP!!!
Soon after that dance, I attended another and met my dance partner, Steve, who just loves the Hustle. He was working on a syllabus and launching a business as an independent instructor, so we worked on Hustle. And that hop was definitely not supposed to be part of the dance!! What a relief!! Now I could love Hustle too.
Most people look at Hustle as a dance similar to Swing. I guess it is, because after all it is derived from West Coast Swing, a sort of "spinoff". But the dance has evolved through the years and now in many ways is related to FoxTrot. When doing the Hustle you should be using heel leads and walking steps, just as you do in FoxTrot. You want fast turns of course, but done smoothly. Think elegance on the floor as the leader leads and the lady follows.
That's the fun and the challenge of Hustle. Intricate underarm turns done quickly and smoothly, one following right after another. The Leader has to know how to correctly lead the turns and the correct time to lead the turns. Sometimes you are dancing to fast music ---- it is especially important for the Leader to have relaxed arms that allow the Lady to perform the movements asked of her.....no strong-arming and no pushing, pulling or knocking her off balance!! The Leader uses "fingertip leads", with tone in the fingers & wrists, but not in the arm. Ladies need relaxed arms too or they will make those turns much harder on themselves than need be.
I recently danced Hustle with several men who had all taken lessons at the same studio.....each one thought he was supposed to force the woman through those turns & moves and it was brutal --- and at times actually painful!!! I cannot stress enough the need for light relaxed leads that happen on the correct count. The beauty of Hustle is that the patterns & movement facilitate the turns if done correctly. If done incorrectly it can feel a lot like wrestling!! Maybe that's why we have a pattern called the Hammerlock?
Huslte is a popular dance with the West Coast crowd. They like to style it up when they Hustle and the style is always the arm stuck straight out. Hey, I'm all for styling, but am not a fan of the straight arm. I personally think it takes away so much of the elegance of the dance, and instead would opt for a softer arm. There is a beauty to the give and take of partners on the floor, the lead and the immediate response, the seeming effortlessness despite the fast turns, whether you are dancing the slower 3-count version or dancing to the steady rhythm of the 4-count. And whatever you do -------DON'T HOP!!!
Friday, August 19, 2011
How to do a Pattern WriteUp-----Taking Notes
1. understand that all dances are inter-related. A 5th position break is a 5th is a 5th, no matter the dance.
2. because of this interrelation we tend to use the same language and therefore the same abbreviations. If you try to write your notes like a paragraph, you'll soon get tired of taking notes! Use shortcuts.
3. get familiar with the "elf" and the "arf".......(LF) (RF)
FOOTWORK
LF = left foot RF = right foot LH = left hand RH = right hand
DIRECTION:
L = left R = right < = turn left (counterclockwise) > = turn right (clockwise)
Fwd = forward Bk = back Side Diag = diagonally Tog = together
TIMING
S = slow or 2 beats of music Q = quick or 1 beat of music & = half beat
BASIC TANGO WALK
LF fwd S
RF fwd S
LF fwd Q
RF side Q
LF tog, but do not change weight S
That was pretty simple, huh? If you add the beats, the Slow's and the Quick's, you'll see that the basic Tango takes 8 beats of music, also known as a phrase.
Let's try another 8-beat Basic, the RHUMBA BOX
LF fwd S
RF side Q
LF tog Q
RF bk S
LF side Q
RF tog Q
That was pretty straight forward too. Let's try another 8-beat Basic, this time for SALSA
LF fwd Q
RF in place Q
LF side S
RF bk Q
LF in place Q
RF side S
You'll notice that the timing for Rhumba and the timing for Salsa are very similar. That's because they are both Latin dances and derive from the same rhythm family. If the musicians are playing something slow and romantic you'll want to use a Rhumba Box. If the music is faster and more upbeat, with lots of percussion, you'll want to use the Salsa Basic.
As you progress in your dancing beyond basics, the patterns become amalgamations of those basics. Remember, a 5th is a 5th is a 5th!!!
BACK SPOT & OS - Can you guess which dance?
QQS QQS LRL RLR 1 Basic
QQS LRL Open Break - begin Back Spot on the "S"
QQS RLR Walk under your own LH to end in Open Latin position
QQS LRL Open Latin Walks back
QQS RLR Continue walks back, ending in Closed on the "S"
QQS LRL 5th
Exit with UA........or......back to Basic........OR any pattern beginning with a 5th
HELPFUL HINTS:
1. The best time to take notes is during class or immediately after class when your memory is best.
2. Writing out a pattern reinforces what you have just learned. You have not only physically practiced the pattern in class, now you have also practiced the pattern mentally.
3. Although you may feel confident that you know what you learned in class, will you be able to recall it correctly months later? For this reason, it is important that you not make up your own count!! Saying in your head "123" for Rhumba counts how many times your feet move, but has no relation at all to the music or the rhythm of the dance. You may use a number count rather than slow's & quick's if you prefer, as long as you remember to include the beats of music that you hold (don't move).
4. All patterns should be written from the Man's point of view since he has to know it to lead it. Many times the Lady is simply doing the natural opposite, but if she has an extra move (like an underarm turn) you may want to write out her footwork as well.
5. When you first start trying to write down patterns, it will take you awhile to think it out. But you'll find that with practice it only takes a few moments.
2. because of this interrelation we tend to use the same language and therefore the same abbreviations. If you try to write your notes like a paragraph, you'll soon get tired of taking notes! Use shortcuts.
3. get familiar with the "elf" and the "arf".......(LF) (RF)
FOOTWORK
LF = left foot RF = right foot LH = left hand RH = right hand
DIRECTION:
L = left R = right < = turn left (counterclockwise) > = turn right (clockwise)
Fwd = forward Bk = back Side Diag = diagonally Tog = together
TIMING
S = slow or 2 beats of music Q = quick or 1 beat of music & = half beat
BASIC TANGO WALK
LF fwd S
RF fwd S
LF fwd Q
RF side Q
LF tog, but do not change weight S
That was pretty simple, huh? If you add the beats, the Slow's and the Quick's, you'll see that the basic Tango takes 8 beats of music, also known as a phrase.
Let's try another 8-beat Basic, the RHUMBA BOX
LF fwd S
RF side Q
LF tog Q
RF bk S
LF side Q
RF tog Q
That was pretty straight forward too. Let's try another 8-beat Basic, this time for SALSA
LF fwd Q
RF in place Q
LF side S
RF bk Q
LF in place Q
RF side S
You'll notice that the timing for Rhumba and the timing for Salsa are very similar. That's because they are both Latin dances and derive from the same rhythm family. If the musicians are playing something slow and romantic you'll want to use a Rhumba Box. If the music is faster and more upbeat, with lots of percussion, you'll want to use the Salsa Basic.
As you progress in your dancing beyond basics, the patterns become amalgamations of those basics. Remember, a 5th is a 5th is a 5th!!!
BACK SPOT & OS - Can you guess which dance?
QQS QQS LRL RLR 1 Basic
QQS LRL Open Break - begin Back Spot on the "S"
QQS RLR Walk under your own LH to end in Open Latin position
QQS LRL Open Latin Walks back
QQS RLR Continue walks back, ending in Closed on the "S"
QQS LRL 5th
Exit with UA........or......back to Basic........OR any pattern beginning with a 5th
HELPFUL HINTS:
1. The best time to take notes is during class or immediately after class when your memory is best.
2. Writing out a pattern reinforces what you have just learned. You have not only physically practiced the pattern in class, now you have also practiced the pattern mentally.
3. Although you may feel confident that you know what you learned in class, will you be able to recall it correctly months later? For this reason, it is important that you not make up your own count!! Saying in your head "123" for Rhumba counts how many times your feet move, but has no relation at all to the music or the rhythm of the dance. You may use a number count rather than slow's & quick's if you prefer, as long as you remember to include the beats of music that you hold (don't move).
4. All patterns should be written from the Man's point of view since he has to know it to lead it. Many times the Lady is simply doing the natural opposite, but if she has an extra move (like an underarm turn) you may want to write out her footwork as well.
5. When you first start trying to write down patterns, it will take you awhile to think it out. But you'll find that with practice it only takes a few moments.
Wednesday, June 15, 2011
Summer Time and West Coast Fever!!!
Yes, we have finally seen some sunshine!! Yes, we are seeing flowers blooming at last!! And what do our thoughts turn to? West Coast Swing!!
This dance has become a summer favorite with everyone. Any kind of Swing makes us all happy, but there is something about the music of West Coast, whether it's the traditional bluesy sounds or the new contemporary songs, that just makes us all want to get up and shake it!!
I guess WC is on my mind right now because I have recently become aware that while some people in the Albany area are into the dance, there is another faction that absolutely hates it. How is this possible???? One of the big happy surprises for me is how much everyone in GF loves this particular dance and starts clamoring for it as soon as the snow has melted!!!
I think it is all in the teaching approach.......many people who teach the dance encourage their students right away to start "doing their own thing" and adding styling. The problem with that approach is that you can't play around with something until you really understand it. You have to have a firm grasp of the fundamentals of the dance before you can add or change things. How can you play with a basic if you don't really know what it is supposed to be?
One of the things I love about dancing is that it always makes sense. There is a reason why you do something or lead something at a particular time --- it's never hit or miss. And that is still true with West Coast Swing. You have the freedom to play, but always need to stay within the boundaries or framework of the dance (and the rhythm of the music)----otherwise it just becomes a mushy mess.
Most of you are working on Hustle or Samba right now, but West Coast is fast approaching. We will be reviewing some of the fun patterns we did last year, and of course, adding new ones. If you have never tried West Coast before, you should join the BEG-2 class on Sundays at 4 PM. This class will be doing West Coast for the very first time, and we will take our time learning the basics and getting a feel for the dance. And they will end up loving it too!!!
Why do we love this dance so much? I think the men like the dance because for them the footwork is really pretty simplistic, there isn't anything that's super difficult and if you dance to slow bluesy music, you won't work up a sweat like you do for East Coast. We women love it because let's face it, let's admit it------ it makes us feel sexy!! All those ladies who have a need for the "twirlies" get to turn and spin, and those of us who like to "wind up our bottoms and go like a rocket" (yeah, that's me) get to shake it. Hey, that's one of the reasons why Zumba is so popular --- women get to wiggle and can tell themselves it's good for them!!!
Here are some tips to remember:
1. Arms should be held parallel to the floor, please avoid the "squirrel-eating-a-nut" look with hands up. And please do not bounce your hands in time to the music, which will confuse your partner and make your leads muddy.
2. Ladies should always stay behind the man's hand for the 1-2 counts. He's going to lead something on 3, so do not go past him. You'll have an easier time doing this is you avoid heel leads for the 1-2. Watch Brandi Tobias on the internet --- never a heel lead and she is absolutely fantastic!!
3. When I show you a pattern, please please try to do it exactly as shown. While it is certainly allowed to play with your anchor step, make sure that your variation is on purpose and not by accident!!!
4. You must lead the patterns at the right time, just as in all other dances. Otherwise, the lady either misses the lead completely or feels like she's constantly playing "catch-up".
5. Once you feel you have the footwork down, go ahead and relax with it. Remember the dance is about playful fun between the partners, and there should be an easy relaxed feel to the dance rather than a stiff or mechanical feel. Men are allowed to "plop" through the footwork and worry more about the leading. Ladies, get those tushies moving!!
This dance has become a summer favorite with everyone. Any kind of Swing makes us all happy, but there is something about the music of West Coast, whether it's the traditional bluesy sounds or the new contemporary songs, that just makes us all want to get up and shake it!!
I guess WC is on my mind right now because I have recently become aware that while some people in the Albany area are into the dance, there is another faction that absolutely hates it. How is this possible???? One of the big happy surprises for me is how much everyone in GF loves this particular dance and starts clamoring for it as soon as the snow has melted!!!
I think it is all in the teaching approach.......many people who teach the dance encourage their students right away to start "doing their own thing" and adding styling. The problem with that approach is that you can't play around with something until you really understand it. You have to have a firm grasp of the fundamentals of the dance before you can add or change things. How can you play with a basic if you don't really know what it is supposed to be?
One of the things I love about dancing is that it always makes sense. There is a reason why you do something or lead something at a particular time --- it's never hit or miss. And that is still true with West Coast Swing. You have the freedom to play, but always need to stay within the boundaries or framework of the dance (and the rhythm of the music)----otherwise it just becomes a mushy mess.
Most of you are working on Hustle or Samba right now, but West Coast is fast approaching. We will be reviewing some of the fun patterns we did last year, and of course, adding new ones. If you have never tried West Coast before, you should join the BEG-2 class on Sundays at 4 PM. This class will be doing West Coast for the very first time, and we will take our time learning the basics and getting a feel for the dance. And they will end up loving it too!!!
Why do we love this dance so much? I think the men like the dance because for them the footwork is really pretty simplistic, there isn't anything that's super difficult and if you dance to slow bluesy music, you won't work up a sweat like you do for East Coast. We women love it because let's face it, let's admit it------ it makes us feel sexy!! All those ladies who have a need for the "twirlies" get to turn and spin, and those of us who like to "wind up our bottoms and go like a rocket" (yeah, that's me) get to shake it. Hey, that's one of the reasons why Zumba is so popular --- women get to wiggle and can tell themselves it's good for them!!!
Here are some tips to remember:
1. Arms should be held parallel to the floor, please avoid the "squirrel-eating-a-nut" look with hands up. And please do not bounce your hands in time to the music, which will confuse your partner and make your leads muddy.
2. Ladies should always stay behind the man's hand for the 1-2 counts. He's going to lead something on 3, so do not go past him. You'll have an easier time doing this is you avoid heel leads for the 1-2. Watch Brandi Tobias on the internet --- never a heel lead and she is absolutely fantastic!!
3. When I show you a pattern, please please try to do it exactly as shown. While it is certainly allowed to play with your anchor step, make sure that your variation is on purpose and not by accident!!!
4. You must lead the patterns at the right time, just as in all other dances. Otherwise, the lady either misses the lead completely or feels like she's constantly playing "catch-up".
5. Once you feel you have the footwork down, go ahead and relax with it. Remember the dance is about playful fun between the partners, and there should be an easy relaxed feel to the dance rather than a stiff or mechanical feel. Men are allowed to "plop" through the footwork and worry more about the leading. Ladies, get those tushies moving!!
Saturday, February 19, 2011
A Bad Day in the Life of Ballroom
I'm driving to the studio on Warren Street and the car suddenly starts doing funny things. It's acting like it's going to stall and making clunky noises. The car behind beeps, so I pull over into a parking spot but the car is still going and I coax it back onto Warren. Whew!!! I make it to the studio parking lot. I know my car is burning oil and I have to keep putting in a quart of oil every so often, and I'm thinking I had better remember to put some in before I leave for home.
Go to the door and my key won't go all the way into the lock. Try again. Nope, still won't go all the way in. Try again, nope, can't get in. This is bad--- I have a private lesson and the Zumba teacher has a class as well. Pull out my cellphone......uh oh.....there's barely any charge to it. The people in the house next door are getting in their car, so I ask if they have a cellphone and could call the owner of the studio. They did and I was grateful that they had been there in my hour of need. While I wait, I figure I'll put some oil in the car. I keep quarts in the car, but barely have any left. Drip, drip. So now I'm hoping I'll be able to make it to a gas station to buy more.
My students and the owner show up about the same time. Her husband is miffed ---- jerks my key from me, jams it into the lock and turns it. He turns to leave, but now I can't get the key out. He's miffed again. Walks over and pulls it out. I tell him I had asked a man to help me the week before and he couldn't do it either. Now I'm miffed because he's angry. He tells me the key got the better of me. OK, let it go.....maybe he had a bad day.
Had the private lesson, went well and we got a lot accomplished during the hour. Zumba music is making the floor vibrate, but it doesn't bother us, we're involved in the lesson. Next hour and my students are nowhere to be found. Look at my cellphone which says I have a message. But the phone is almost dead, so I can barely hear. They aren't coming.....illness? Can't hear, so that's my guess. Since I have an hour before my next class, I change shoes and jump into the car. I only know one station that I'm sure has bottles of oil so I drive almost all the way back to the northway. Buy 4 quarts of oil (gotta stock up) and hope that me and my poor little car-car can make it back to the studio. Uh-oh....the new Zumba class has arrived and my parking spot is gone. I manage to squeeze into the one spot that's left but it's not near a light. I raise the hood, but can't see anything. I didn't remember to charge my phone but luckily I had put a tiny flashlight in my purse. I'm holding the light, the paper cone and the quart of oil when some students arrive. They've been with me a long time, just take one look and start laughing.
Now we're back in the studio and the next class is arriving. But more than half the class is missing, and at least 3 of the couples are sick with that cold/ flu/ whatzit that's making the rounds. The rest of them have gone south for winter break. That's okay, we'll just finish up our session with the couples that are here. One of the couples is having a hard time. They've improved a lot since they've started, but can't seem to manage to do it together. I walk over to help and go through the pattern a few times with him. They try it together, but she's doing her own thing. So I lead her through the pattern and I'm having a hard time getting her to follow me. Tell her she needs to back off and let him lead. She walks out of the room. I think she's just frustrated and taking a breather. Suddenly out of the corner of my eye I see her with her coat on and she is leaving!!! I run off after her and plead with her to come back, but it's bye-bye. Oh no!!! This is horrible!!! Did I upset her? I'm so upset!!! Have never in all my years of teaching had someone walk out of class. Well.....okay, there was that one time.......
I used to have a couple that were taking lessons with me. They rattled me at first, because she would suddenly stop and yell at him in Korean and she was so loud I had to stop teaching because no one could hear me. I kept telling her she had to have patience, and eventually the scoldings died down as his lead improved. But one night she got really frustrated and kicked him in the shins!!! He walked out of class and at the time I really couldn't blame him. I called her a few weeks later when they had missed a few classes. She said he refused to dance with her. She seemed baffled, but honestly, I could see his point.
I'm rattled. I feel terrible and am just hoping that I didn't say something that made her angry or hurt her feelings. Maybe she's coming down with that flu? Next class, and big surprise, some people are off and away on fabulous vacations. Not me of course, but other people. We had fun anyway, but by this time I'm not only rattled, I'm tired and hungry. Like many dance teachers, I don't eat dinner until all the classes are over for the night and I can relax, so I haven't eaten for 9 hours. The car made it home, and I was grateful to eat leftover chicken and some polenta that was hard and rubbery. Kinda like yellow cement. Put some Earth Balance on it and ate it. Hey, it's food.
Next morning I wake up and start the coffee. I flush the toilet after the first pee of the day and head for the kitchen to grab a coffee cup. But suddenly I hear water pouring!! I rush back into the bathroom to find water pouring out of the bottom of the toilet!! AAAARRRGGGH!!! Pull off the lid and the water is up to the top of the tank!! I don't see an obvious problem, so I do what any woman would do--- I jiggled the handle. It stopped!! Great, get the rug out, find a bucket to catch the water and get the mop. But there's no sponge in the mop!!! Now I have to get a flashlight and search for the replacement I know I had purchased. Finally manage to mop it all up and breathe a sigh of relief. It had been a horrible night, and it's only 6 am and has been a horrible start to the day. The only bright spot is that we've had a couple of really beautiful warm days and it was wonderfully warm when I drove home. Sipping my coffee I look out the window......there is snow on the car and the wind is whipping it all over the driveway!!!! Sigh...maybe I'll just crawl back under the covers and hide........?
Go to the door and my key won't go all the way into the lock. Try again. Nope, still won't go all the way in. Try again, nope, can't get in. This is bad--- I have a private lesson and the Zumba teacher has a class as well. Pull out my cellphone......uh oh.....there's barely any charge to it. The people in the house next door are getting in their car, so I ask if they have a cellphone and could call the owner of the studio. They did and I was grateful that they had been there in my hour of need. While I wait, I figure I'll put some oil in the car. I keep quarts in the car, but barely have any left. Drip, drip. So now I'm hoping I'll be able to make it to a gas station to buy more.
My students and the owner show up about the same time. Her husband is miffed ---- jerks my key from me, jams it into the lock and turns it. He turns to leave, but now I can't get the key out. He's miffed again. Walks over and pulls it out. I tell him I had asked a man to help me the week before and he couldn't do it either. Now I'm miffed because he's angry. He tells me the key got the better of me. OK, let it go.....maybe he had a bad day.
Had the private lesson, went well and we got a lot accomplished during the hour. Zumba music is making the floor vibrate, but it doesn't bother us, we're involved in the lesson. Next hour and my students are nowhere to be found. Look at my cellphone which says I have a message. But the phone is almost dead, so I can barely hear. They aren't coming.....illness? Can't hear, so that's my guess. Since I have an hour before my next class, I change shoes and jump into the car. I only know one station that I'm sure has bottles of oil so I drive almost all the way back to the northway. Buy 4 quarts of oil (gotta stock up) and hope that me and my poor little car-car can make it back to the studio. Uh-oh....the new Zumba class has arrived and my parking spot is gone. I manage to squeeze into the one spot that's left but it's not near a light. I raise the hood, but can't see anything. I didn't remember to charge my phone but luckily I had put a tiny flashlight in my purse. I'm holding the light, the paper cone and the quart of oil when some students arrive. They've been with me a long time, just take one look and start laughing.
Now we're back in the studio and the next class is arriving. But more than half the class is missing, and at least 3 of the couples are sick with that cold/ flu/ whatzit that's making the rounds. The rest of them have gone south for winter break. That's okay, we'll just finish up our session with the couples that are here. One of the couples is having a hard time. They've improved a lot since they've started, but can't seem to manage to do it together. I walk over to help and go through the pattern a few times with him. They try it together, but she's doing her own thing. So I lead her through the pattern and I'm having a hard time getting her to follow me. Tell her she needs to back off and let him lead. She walks out of the room. I think she's just frustrated and taking a breather. Suddenly out of the corner of my eye I see her with her coat on and she is leaving!!! I run off after her and plead with her to come back, but it's bye-bye. Oh no!!! This is horrible!!! Did I upset her? I'm so upset!!! Have never in all my years of teaching had someone walk out of class. Well.....okay, there was that one time.......
I used to have a couple that were taking lessons with me. They rattled me at first, because she would suddenly stop and yell at him in Korean and she was so loud I had to stop teaching because no one could hear me. I kept telling her she had to have patience, and eventually the scoldings died down as his lead improved. But one night she got really frustrated and kicked him in the shins!!! He walked out of class and at the time I really couldn't blame him. I called her a few weeks later when they had missed a few classes. She said he refused to dance with her. She seemed baffled, but honestly, I could see his point.
I'm rattled. I feel terrible and am just hoping that I didn't say something that made her angry or hurt her feelings. Maybe she's coming down with that flu? Next class, and big surprise, some people are off and away on fabulous vacations. Not me of course, but other people. We had fun anyway, but by this time I'm not only rattled, I'm tired and hungry. Like many dance teachers, I don't eat dinner until all the classes are over for the night and I can relax, so I haven't eaten for 9 hours. The car made it home, and I was grateful to eat leftover chicken and some polenta that was hard and rubbery. Kinda like yellow cement. Put some Earth Balance on it and ate it. Hey, it's food.
Next morning I wake up and start the coffee. I flush the toilet after the first pee of the day and head for the kitchen to grab a coffee cup. But suddenly I hear water pouring!! I rush back into the bathroom to find water pouring out of the bottom of the toilet!! AAAARRRGGGH!!! Pull off the lid and the water is up to the top of the tank!! I don't see an obvious problem, so I do what any woman would do--- I jiggled the handle. It stopped!! Great, get the rug out, find a bucket to catch the water and get the mop. But there's no sponge in the mop!!! Now I have to get a flashlight and search for the replacement I know I had purchased. Finally manage to mop it all up and breathe a sigh of relief. It had been a horrible night, and it's only 6 am and has been a horrible start to the day. The only bright spot is that we've had a couple of really beautiful warm days and it was wonderfully warm when I drove home. Sipping my coffee I look out the window......there is snow on the car and the wind is whipping it all over the driveway!!!! Sigh...maybe I'll just crawl back under the covers and hide........?
Sunday, February 6, 2011
NO CLASS TODAY - SUNDAY FEB 6th
The studio is experiencing problems due to the large amount of snowfall. Problems with snow & ice in the parking lot and they have water pouring thru the stereo speakers. See you next Sunday!!
Wednesday, February 2, 2011
NO CLASS TONIGHT - WED, FEB 2
Me and my little orange shovel are totally pooped out......huff puff.....huff puff......
Thursday, January 27, 2011
Tango?
Tango is an absolutely beautiful dance --- no matter which version you prefer. Originating among the lower classes and the barrios of Argentina, it was considered a scandalous dance in that country. Eventually introduced into the salons of Paris, it gained more acceptance until it gained worldwide popularity through the movies of Rudolph Valentino. It is not a rhythm that you hear unless you are with the dance crowd --- you won't hear it at weddings or an event featuring a dance band. But Tango has become popular again because of the re-discovery of Argentine Tango.
If you watch Dancing With The Stars, you will see the dancers perform International Tango. This is the tango version used for dance competitions, and the version introduced by a German couple way back in the 1930's. Tango music is written in 2/4 or 4/4 time, and the International Tango features more of a clipped staccato rhythm which is translated by the dancers. The music has a steady, easy to hear rhythm and is faster than other versions. International Tango is characterized by long strides, fast footwork, and snappy changes of dance position. If you watch the show, you will hear the judges rave about the romance and sexiness of the Tango --- and compared to the other dances, yes, Tango is one sexy dance!! But the clipped staccato of International Tango loses a lot of the romance.
Argentine Tango is extremely romantic and sexy. There are people who only do Argentine and no other dance. It is characterized by a close hold, heads together, with fans (or "ochos") and kicks between the partner's legs. The music is much more subtle and blended, the rhythm is not as emphasized and some people find it difficult to hear the rhythm of Argentine music. It has become fashionable to use some Argentine moves in all versions because audiences have been so enthralled and mesmerized by the beauty of the dance performed by skilled Argentine dancers.
American Tango (or Social Tango) is a blending of these two versions. The music has a strong steady beat --- although not as emphasized as in International standardized music---- and it is easier for people to hear and follow the beat. It also uses long strides, but any syncopated movements are not as clipped. This version is characterized by long walks, fans, and turning rock steps. While it does not have the drama of Argentine, for me it does retain the romance and the sultry feel of the play between partners. You do use body contact, and the styling is more about moving as one with your partner, rather than fast footwork or dramatic eye-catching moves. I love it!!!
And I love teaching Tango!! Because it does "take two to Tango"!! Learning Tango involves learning to move with your partner in closed body contact, whether following the long strides of the walking movements or the short controlled rocking turns. You must learn to stay within his dance frame and follow, even when doing a fan. For the man, learning this dance will involve learning to turn and change the dance frame. He also learns to take longer strides with heel leads, something that improves his Waltz and his Fox Trot as well. Learning and mastering just the first three or four patterns in Tango demonstrates to the man that subtle changes in his stride or dance frame changes the signals, the cues the woman is receiving, and that the timing of these changes is so important.
You will never dance Tango as often as you dance other ballroom dances, that's true. But the things you learn from this dance will improve your skills used in every other dance. Tango is considered a major ballroom dance and there is no other dance that so consistently teaches the use of dance frame to dancers from beginners through advanced.
If you watch Dancing With The Stars, you will see the dancers perform International Tango. This is the tango version used for dance competitions, and the version introduced by a German couple way back in the 1930's. Tango music is written in 2/4 or 4/4 time, and the International Tango features more of a clipped staccato rhythm which is translated by the dancers. The music has a steady, easy to hear rhythm and is faster than other versions. International Tango is characterized by long strides, fast footwork, and snappy changes of dance position. If you watch the show, you will hear the judges rave about the romance and sexiness of the Tango --- and compared to the other dances, yes, Tango is one sexy dance!! But the clipped staccato of International Tango loses a lot of the romance.
Argentine Tango is extremely romantic and sexy. There are people who only do Argentine and no other dance. It is characterized by a close hold, heads together, with fans (or "ochos") and kicks between the partner's legs. The music is much more subtle and blended, the rhythm is not as emphasized and some people find it difficult to hear the rhythm of Argentine music. It has become fashionable to use some Argentine moves in all versions because audiences have been so enthralled and mesmerized by the beauty of the dance performed by skilled Argentine dancers.
American Tango (or Social Tango) is a blending of these two versions. The music has a strong steady beat --- although not as emphasized as in International standardized music---- and it is easier for people to hear and follow the beat. It also uses long strides, but any syncopated movements are not as clipped. This version is characterized by long walks, fans, and turning rock steps. While it does not have the drama of Argentine, for me it does retain the romance and the sultry feel of the play between partners. You do use body contact, and the styling is more about moving as one with your partner, rather than fast footwork or dramatic eye-catching moves. I love it!!!
And I love teaching Tango!! Because it does "take two to Tango"!! Learning Tango involves learning to move with your partner in closed body contact, whether following the long strides of the walking movements or the short controlled rocking turns. You must learn to stay within his dance frame and follow, even when doing a fan. For the man, learning this dance will involve learning to turn and change the dance frame. He also learns to take longer strides with heel leads, something that improves his Waltz and his Fox Trot as well. Learning and mastering just the first three or four patterns in Tango demonstrates to the man that subtle changes in his stride or dance frame changes the signals, the cues the woman is receiving, and that the timing of these changes is so important.
You will never dance Tango as often as you dance other ballroom dances, that's true. But the things you learn from this dance will improve your skills used in every other dance. Tango is considered a major ballroom dance and there is no other dance that so consistently teaches the use of dance frame to dancers from beginners through advanced.
Tuesday, January 4, 2011
Cha Cha Chat
Cha Cha continues to be a popular rhythm, not only in classic Latin music, but in contemporary pop and jazz. So if you go to a dinner dance, wedding, jazz club or a favorite little spot with a jukebox, this is one dance you will be sure to use.
Cha Cha continues to be popular because of Syncopation - splitting beats of music - which adds energy and interest to a piece of music. What does that mean to a dancer? It means you are taking 5 steps over a 4-beat measure of music.
Common Mistakes:
#1) Count 1-2-3-4-&...........OR 1-2-3-cha-cha.......but DO NOT MAKE UP YOUR OWN COUNT!!! We start on the "1" with a side step, or some dancers start on the "2" with a rock step. Either is acceptable, but doing the breaks (rock steps) on the "1" is not. This is what I call "kitchen cha cha", the kind of cha cha you learned years ago from an older sister in the kitchen. Rocking on the 1-beat causes an exaggerated emphasis that definitely makes you look like an amateur.
#2) The big difference between professionals and amateur dancers is that a professional "places" the foot carefully and purposely. Amateurs will approximate a movement in the general direction --- this leads to sloppiness, sometimes confusion, and to the dreaded "'Skippety-Do Syndrome" ---- taking a flat-toe-flat triple with one foot behind!!!! Cha Cha is not Polka and the triple steps are not done in the same way!! Whether you are doing a side triple or a progressive triple forward, the steps are evenly spaced, and equal in size, and always taken on the ball of the foot. Remember there are no heel leads in Latin!!! (otherwise the dance might be called the Thud Thud????)
#3) The timing of the lead is extremely important (in any dance) and since Cha Cha uses so many hand leads, it is really important in this dance. The Lady often has only the Man's left hand to tell her what to do, and a good leader makes sure he leads at the correct time to catch the Lady on the correct foot so that she is able to easily follow. Remember that leading uses the Lady's momentum to facilitate the movements --- leading at the wrong time makes everything tougher on her and make her feel like she is always playing catch-up or on the wrong foot. It isn't good enough to raise your hand at "about the right time" to lead an underarm turn, gentlemen!! It is not only sloppy careless dancing, it is unfair and inconsiderate of your partner.
#4) And what about the Ladies? Much of Cha Cha is done in Open Position with hand leads so it is important for the Ladies to maintain tone and resistance in the arms. Do not fold up like an accordian, the "noodle arms" that is so frustrating to a leader. Ladies, remember that when you are in Open you are responsible for keeping the rhythm of the dance!! Keep the count as you make those turns, you have plenty of time, he's not going to disappear!! Your job is to maintain the rhythm throughout the dance unless the Leader does something to change it.
#5) Cha Cha is a Latin dance and Latin motion should be used throughout the dance. Often dancers are so intent on the footwork they forget to use motion of the hips. Remember that this is the styling that makes Latin dances unique and sexy, and get those motors running!!
Cha Cha continues to be popular because of Syncopation - splitting beats of music - which adds energy and interest to a piece of music. What does that mean to a dancer? It means you are taking 5 steps over a 4-beat measure of music.
Common Mistakes:
#1) Count 1-2-3-4-&...........OR 1-2-3-cha-cha.......but DO NOT MAKE UP YOUR OWN COUNT!!! We start on the "1" with a side step, or some dancers start on the "2" with a rock step. Either is acceptable, but doing the breaks (rock steps) on the "1" is not. This is what I call "kitchen cha cha", the kind of cha cha you learned years ago from an older sister in the kitchen. Rocking on the 1-beat causes an exaggerated emphasis that definitely makes you look like an amateur.
#2) The big difference between professionals and amateur dancers is that a professional "places" the foot carefully and purposely. Amateurs will approximate a movement in the general direction --- this leads to sloppiness, sometimes confusion, and to the dreaded "'Skippety-Do Syndrome" ---- taking a flat-toe-flat triple with one foot behind!!!! Cha Cha is not Polka and the triple steps are not done in the same way!! Whether you are doing a side triple or a progressive triple forward, the steps are evenly spaced, and equal in size, and always taken on the ball of the foot. Remember there are no heel leads in Latin!!! (otherwise the dance might be called the Thud Thud????)
#3) The timing of the lead is extremely important (in any dance) and since Cha Cha uses so many hand leads, it is really important in this dance. The Lady often has only the Man's left hand to tell her what to do, and a good leader makes sure he leads at the correct time to catch the Lady on the correct foot so that she is able to easily follow. Remember that leading uses the Lady's momentum to facilitate the movements --- leading at the wrong time makes everything tougher on her and make her feel like she is always playing catch-up or on the wrong foot. It isn't good enough to raise your hand at "about the right time" to lead an underarm turn, gentlemen!! It is not only sloppy careless dancing, it is unfair and inconsiderate of your partner.
#4) And what about the Ladies? Much of Cha Cha is done in Open Position with hand leads so it is important for the Ladies to maintain tone and resistance in the arms. Do not fold up like an accordian, the "noodle arms" that is so frustrating to a leader. Ladies, remember that when you are in Open you are responsible for keeping the rhythm of the dance!! Keep the count as you make those turns, you have plenty of time, he's not going to disappear!! Your job is to maintain the rhythm throughout the dance unless the Leader does something to change it.
#5) Cha Cha is a Latin dance and Latin motion should be used throughout the dance. Often dancers are so intent on the footwork they forget to use motion of the hips. Remember that this is the styling that makes Latin dances unique and sexy, and get those motors running!!
Subscribe to:
Posts (Atom)