All Amazing Articles

Oh, what a city!

I recently had the pleasure to revisit Paris, and the city is as splendid as you can imagine. The hustle and bustle of the people on the street, in the outdoor cafes, and on the metro, lends a vibrancy and variety that is approached in Calgary only during the Stampede.

As I rode the metro, suddenly the sound of an accordion filled the train, playing that familiar French melody, you know the one. I forget the name. Glancing around, there is some young guy by the door, tugging on the instrument, fingering the buttons. Welcome to France!

Also, I went out dancing, naturellement, and my experience was gratifying. They do it all over the world.

The purpose of my sojourn was work, but play is something you mustn’t miss here. Fortunately, I was able to minimize work to a few hours per day, and do the tourist thing. You know, the Eiffel Tower (excellence in structural engineering for the 1889 World’s Fair), and the Seine River cruise. Did you know that there is a miniature Statue of Liberty in front of one of the pillars on a bridge crossing the river?

In my book, the must-see is the Musee d’Orsay, a railway station converted to a light and delightful museum, displaying wonderful fin-de-siecle impressionist art. Then do the Arc de Triomphe, promenade on the Champs Elysees, followed by a lazy espresso on the terrace, rubbing shoulders with habitues, carrying le cell-phone.

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\\ tags: Dance, Tango

There aren’t any BAD Dancers!

Often times, I listen to people make comments such as, “he has no rhythm …. or she can’t follow”. Sometimes the comments are even more harmful, “what do they think they’re trying to do - that looks simply awful”, or “he can’t dance at all, he’s just bopping - maybe he should take some lessons”!

Have you ever thought this? Ever voiced this to your friends? What’s really important about dancing anyway?

I’ve attended many social dances and many competitions and must admit there is one dancer that I always enjoy watching on the floor. Have you ever seen the dancers that dance every dance (even if they can’t Dance?) but they’re always smiling - always having fun. I watch these dancers in fascination, they are actually having a great time.

When I watch people on the dance floor, I often wonder, Why are they dancing - they look like they’re in pain? I am truly amazed that anyone would go out for an evening of torment and painstaking work — there is a time and place for everything in life.

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\\ tags: Dance

In the 70s, I was very much involved in disco dancing. So much involved, that I became an Arthur Murray’s Dance Instructor and danced professionally with Jeff Kutache’s Dancing Machine in casinos located in Reno, Nevada and Lake Tahoe, Nevada.

By winning several dance contests and dancing disco dance marathons, one for 79 hours which generated a new record for disco marathon dancing and finally dancing 205 hours of disco dancing, allowing me to have the Guinness Book of World Records for a period of one month, I became the 3rd and 5th (the last) Disco King of Sacramento, California. Whoever has the record when Guinness Book of World Records is published, gets into their book. Unfortunately, my 205 hour disco dance marathon record was broken within one month by 329 hours.

Ripley’s Believe it or Not went ahead and published me in one of their comic strips, indicating that I danced for 205 hours. Ripley’s Believe it or Not gave me a lifetime membership card in which I could use to visit any one of their museums for free.

With big expectations, I went to Hollywood and was an extra in a few movies and did a couple of disco commercials. That was the glory days I had in the 70s. In the pictures from those glory days, on the top right picture, you can see the sign behind me which says I danced 200 hours, I went for 205 hours altogether. What was so funny about dancing 205 hours, is that I had a 5 minute break on every hour, if I needed to utilize the restroom, it had to be during that 5 minutes, Guinness required witnesses to that effect. Also, I was transported by van from one location to another location and had to dance in the van. If I ate, I had to keep those feet moving. Other dancers attempted to break the record with me and one girl Kathy Kleiber collapsed and her legs swelled up like a balloon. Another dancer collapsed and was hospitalized.

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\\ tags: Dance, Disco

Every time I talk to people who would like to take an interest in dancing, the questions most often asked are:

• “Are you taking any dance lessons?”
• “Where/who do you take lessons from?”
• “I’d like to take up dancing — where should I go for lessons?”

The first two questions are easy to answer: “No, I’m not taking any lessons” and “I borrowed the ‘The Betty White Teaches Mambo’ from the library”. (So I lied, my instructor made me!)

The last one is not too easy to answer. Different schools/professionals offer different dance programs/curriculums. They could be private lessons, group lessons, or a combination of both. For those who just want to learn the casual steps or get to know the dances, group lessons from the various dance clubs would be adequate. For example, if I’d like to learn a few Western dances to use during Calgary Stampede, I’ll sign up for free group lessons offered by various country bars, rather than using my valuable private lessons on something I only use once a year. For those who would like to take their dancing a bit more serious, a proper dance program/curriculum with private lessons is necessary. It all depends on what you want out of your dancing. I find the professionals in our city are of very high caliber, and it shows. We like what we see at the dances!

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\\ tags: Dance, Dance School

When choosing a particular studio or method of learning to dance you must first answer the following basic questions. Your answers will determine the keys needed to evaluate a studio, and whether it is a fit for you.

What is the most important element in your dancing?
This question is the most important one. If your answer is to learn to dance for FUN, pure enjoyment — stay with the inexpensive ways of learning to dance.

However, if your answer to this question involves elements of learning to be the best, learning the proper technique, learning to dance for enjoyment but to also be “better than the average bear”, or possibly competing — your best decision would be to choose a studio in which you felt the particular element was being addressed.

What is the monthly or yearly total you are willing to spend?
Before making any decisions as to which studio, you must decide for yourself what your yearly or monthly budget can afford. Do your budget numbers before you look for a studio — this will be one less hassle if you know upfront what you can afford. As well, it will help you to be wise and not get straddled with a payment that is uncomfortable.

Why do you dance?
Ensure that you understand why you enjoy dancing or at least why you want to dance. Only you know the true reason — but as long as you know — this will help you in deciding where to attend.

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\\ tags: Dance, Dance Studio

Let’s all practice dance floor etiquette! Many dancers and many styles of dancing can be accommodated on the floor at the same time. This means that we have to follow traditional dance floor etiquette. Let’s always be courteous and we will all have a great time dancing!

Dances that move in a continuous forward movement should be danced in the outer lanes (counter clockwise which is also the line of dance). There are two lanes depending on the forward movement of the dancers: the outside (fast) lane and the inside (slow) lane. Progressive dances which are danced in the two outer lanes are Waltz, Fox-trot, Tango, Viennese Waltz, and the Two-Step. These dancers generally have the right of way, but should not cut through the floor center!

The floor center is where line dances, spot dances, and “position” dances are held such as the Jive, West Coast Swing, Slow Dancing, and Cha Cha. Do not dance in the outside lanes unless everyone else is doing them at the same time!

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\\ tags: Dance, Dance Etiquette

Most dance music is based on 2/4, 3/4, or 4/4 music time. In 2/4 and 3/4 time the first beat of a bar is emphasized and can be clearly heard in the bass = drum, bass or bass guitar. This is the beginning beat of the music and is the beginning step of the dance.

In 4/4 time the most emphasized beat is the first beat and there is then less emphasis on the 3rd beat. Again this can be clearly heard in the bass instruments. As always, the first beat is the beginning step of the dance. In some music the bass instruments will play every beat in the bar. Listen to the music - you can hear and feel the beginning beat of the bar and go from there.

The most important thing to remember is to move to the beat - listen for the bass instruments and they will show you the way. Remember there is nothing worse when dancing than to be “off the beat” — so listen and enjoy!

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\\ tags: Beat, Dance

Dance Floor Courtesy is a beneficial tool for dancing on any ballroom floor, however, Off the Floor Courtesy is also a welcome tool.

If all dancers were to observe dance floor etiquette and technique, the dance floor would be able to accommodate up to its maximum capacity and still permit movement and more enjoyment. When the dance floor is overcrowded, all dancers should refrain from “performing” and participate in “social” dance, or perhaps even choose to politely sit some numbers out to ease the situation.

Social dances are classified as either progressive or spot dances. In progressive dances such as foxtrot, waltz, etc., the rule is to move around the floor only in a counterclockwise direction. This also includes the patterns that take the man backwards.

In spot dances, such as the swing, cha cha, rumba, etc., the couple should try to keep as much as possible in and around the small area where they began dancing. Other dancers’ space should be respected.

When the dance music is such that it permits more than one type of dance, such as a foxtrot or swing, the swing dancers should go towards the center of the dance floor thereby making it possible for the foxtrot dancers to move freely around the outside of the dance floor. Dance patterns in which the forward movement is temporarily suspended should be executed in the centre or fringes of the dance floor, unless one is sure the dance flow will not be impeded. This courtesy also applies to newer dancers, moving towards the centre allows the experienced dancers to really move around the outside of the floor.

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\\ tags: Dance

Dance students naturally want to get the most they can from their lessons, but often lack a clear understanding of how to do so. In fact, any student’s progress depends mostly upon how they approach and use their lessons. Fast, complete and efficient progress will result only from a logical and structured approach to learning.

Set a Goal
Quite simply, unless both the instructor and the student have a clear understanding of the skills and abilities that are to be developed, then progress suffers. A frank discussion of goals and the formation of a solid teaching plan are essential.

Correct Frame of Mind
The student-teacher relationship is one of both physical and mental participation. Knowledge can only be gained through focused attention and a willingness to learn. Students should take care to apply themselves to the task at hand, and to do their best to perform the new elements according to their instructor’s direction.

Concentration and Focus
Sometimes students, in a desire to “do everything right”, will focus on one facet of dancing while the instructor is attempting to work on another. The experienced instructor will not expect their students to correctly perform all of their old skills while learning something new. The student should direct their attention only to the topic which the instructor has chosen, and the instructor will later amalgamate the new knowledge with the old.

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\\ tags: Dance, Dance Lessons

The most frequently asked question we receive as exponents of “International” Style dancing from people who have only been exposed to “North American” Style, is, what’s the difference?

In our early years as dancers in England, we were aware of only one style, the “English” Style, which only within the last twenty years has become known as the “International” Style. I will endeavor to explain the differences as I see it.

In the Waltz the biggest difference is we bring our feet together on the count of three in basic turns and maintain a closed hold throughout the dance. In American Style, the feet pass in turns and for a large part of the dance, the couples dance in open position. International Style requires the couple to maintain contact at the mid-section of the body, “gapping” being considered one of the cardinal sins of International competitive dancing.

The same or similar differences occur in Foxtrot and Tango, although at a high level, these two dances are taking on quite an International look. Then there is the Quickstep, which has no counterpart in American Style. The dance consists of chasses, skips, locks, runs and hops performed to a fast 4/4 rhythm. The couple endeavoring at the same time to maintain contact and appear to be relaxed!

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\\ tags: Dance