Last Saturday it seems like all the stars aligned and everything worked out perfectly in my morning so that I could go to a workshop taught by Judge Dread in the afternoon. Hooray for me! Part of me thought that going to the workshop would be a good idea because Judge Dread is a big-time judge that I see often enough at competitions I sign up for, so getting in some face time with him in a non-competition setting would be a good political move. Dance Politics, am I right? Things turned out even better than that though, because the workshop also turned out to be both a lot of fun and relevant to the material I usually practice.
Judge Dread wanted to work on Foxtrot that afternoon, and he told the class that while the pattern he had in mind was built using figures from the International side of Foxtrot, a good dancer could also apply the choreography in an American Foxtrot if they wanted. He wanted to ease everyone into the steps slowly, so we started off with a bit of basic choreography from the Bronze International Foxtrot syllabus, then those figures were upgraded piece by piece until we ended up with the actual choreography Judge Dread had in mind.
The starting point is pretty simple if you’ve done International Foxtrot before: a prep step into a Feather, then a Basic Weave, and finally a Change of Direction. Judge Dread pointed out to all of us that the Feather was a four-count figure, while the Basic Weave and the Change of Direction were both six-count figures, so the pattern should fill a full four bars of music. That’s all well and good, but what if we wanted to attach something different to the end of the choreography? Then the six-count Basic Weave would throw off our phrasing. To fix that issue, Judge Dread had us add in an extra two steps to the Basic Weave to make it an eight-count figure, so now the figure fits into the phrase.
Doing that however makes the Basic Weave look really long and boring, so rather than just stay in the position that we got into when we started the Basic Weave, Judge Dread told the ladies that we were going to have them shift across the man’s body for steps four and five to get into Outside Partner position on the man’s left side. Some of you may have heard this called ‘Wing Position’ before. Extending the steps and shifting the lady like that in the middle of the figure actually changes the Basic Weave into a figure called the Quick Open Reverse with Left Side Run, according to Judge Dread.
Now that we had fit this new figure to the musical phrase and made it more interesting to watch, we were ready to look at the Change of Direction at the end and make it into something more interesting as well. The pattern of steps that Judge Dread showed to us was something that he said a famous dancer (whose name I didn’t recognize) taught to him back in the early 1980s, and he still sees high-level competitive couples using it to this day. According to him, it especially comes in handy in competitions if you get stuck by people on the floor, because it’s an interesting pattern that stays in a relatively small area for a few bars of music. On top of that, this pattern can be done in ANY International Standard style. Yes, even Viennese Waltz works when you use a bit of Canter Timing.
Each section listed next covers one measure in the music; since we were working on Foxtrot that day, we were doing it with a four count. This configuration started out by facing diagonal wall and going into the first two steps from the Change of Direction, as you probably already guessed. After those steps, instead of stepping forward on the left foot to complete the Change of Direction, Judge Dread had the men step backward and lead the ladies to do an Outside Swivel. Once back in dance frame after the Outside Swivel we would lead the lady into a Contra check that ended with a Natural Pivot on the left leg that would flip us around 180°. That covers the first three bars of music.
The last part of the grouping was something that Judge Dread called a “Rudolph Ronde” with Slip Pivot. Essentially the men would finish the Natural Pivot and take a step forward onto their right leg. Leaving the left leg behind you, we would rotate our bodies to lead the lady to ronde her outside leg before shifting our weight back to our left foot and then slipping and pivoting on the right. Depending on how you rotate your body, supposedly you can indicate to the lady whether you want her to ronde with her outside foot on the floor or in the air, but I wasn’t able to figure out the way to do that during class. After the Slip Pivot you should be back facing diagonal center, and four bars of music will have gone by without you having traveled a whole lot. After that was done, Judge Dread just had us go into normal a Reverse Turn (International or American, depending on how comfortable the lady is with Heel Turns) to keep traveling down the floor.
That class wasn’t the only dance-related thing I did last Saturday either! I also went out to a dance party that night that was being held at the Electric Dance Hall just to get out and be social for a little while. I may have gotten scolded for going to the dance party to mostly talk to people by a lady while I was there… I had a hard time trying to explain to her that I spend so much time on the dance floor lately while I practice my competition stuff, but don’t get much opportunity to talk to people. Apparently that wasn’t a good reason for her. It wasn’t like I was hurting anything though, since the ratio of men to women was almost even that night. If the ratio had been lopsided, I would have been on the floor more, I promise!
The party advertised a lesson beforehand on Bolero. It’s a style that I don’t really do too often, and I never picked up a whole lot of figures for it, so I thought that the lesson would probably be interesting. As it turned out, the instructor that had come in to teach the class only managed to cover figures that I already knew for Bolero. Plus, the guy teaching wasn’t very interesting to listen to. I don’t know what it was about the guy’s voice, but he seemed to drone on and on and I just couldn’t get engaged in what he was saying. So I ended up being a little bored while in the lesson. I maaaaaay have roped Sparkledancer into playing a game of ‘Quick Draw’ with me using finger guns while we were standing across the room from one another. I lost a lot, because my arms move slower. You know, from all the muscle. That’s where the real gun show is at. 😉
A large chunk of time at the beginning of the lesson was spent with the instructor describing the Bolero and how to do the basic steps for the dance. He only taught the class how to do the basic without rotation, though he demonstrated later in class how the Leader could rotate the basic if desired. After getting through the basic movements, he next showed everyone how to do the Cross Over Break (i.e. a New Yorker, depending on what syllabus you look at). We were told to link the two figures together by doing the front half of the basic movement followed by three Cross Over Breaks in a row. Once done with those, he showed the class how to do a Lady’s Underarm Turn on the man’s left side.
Rather than link back into dance frame after the turn, the instructor had the men take the lady’s left hand in their right with the arms wide. In this position we did Outside Breaks Forward, two of them normally and then a third that ended with the man stepping to the side without rotating his body. This wound him up to the right, allowing him to lead the lady to do Swivels in front of him for two measures. At the end of the swivels the man would pull the lady back toward him slightly as he went into the back half of the basic to close back into dance position to finish.
The Swivels were the figure that a lot of the other men in class had the hardest time with. Several of them stopped the instructor to ask how it was that they were supposed to lead the ladies to do them, and they didn’t seem to understand when he explained to them how they needed to leave their arms engaged and rotate their bodies to signal to the ladies to move. Having done this figure before lots of times in a couple of dance styles, it seemed so intuitive to me how the movement was supposed to work, so I had a hard time understanding how those guys couldn’t just feel the lead they were supposed to do when they tried the movement. I can’t remember if I had that much trouble getting it back in the day all those years ago when I originally learned how to do it myself. Maybe I did? I don’t know.
After the lesson was over, the party began. I admit to not being a huge fan of the DJ that was working the music that night. The DJ seemed to like playing Latin-style songs almost exclusively, with only a smattering of ballroom-style or swing-style numbers mixed in. If you like dancing Latin numbers more, I guess that wouldn’t bother you too much, but I prefer a more balanced mix of the three classes. I think it helps mix things up over the course of the party, which gets different people out on the dance floor as the class of song changes. But, to each their own, I guess.
Also, the DJ liked to go out and dance to a lot of the Latin-style songs, which is fine, but more often than not she would totally forget to watch what the music was doing while she was out on the floor. I’m not sure why she didn’t set up multiple songs to play on some kind of mixed playlist that she had chosen. Most music programs will let you queue songs like that. There were a couple of times when she would forget about what the music was doing, then the song would end and her computer would move on to another song of the same dance style before she managed to run back to abruptly change the song to something else in a different dance style. That was weird.
But the weirdest thing that happened during the dance party was that the DJ tried to play a Pasodoble for people to dance socially. At first, people were looking around, not quite sure what to do. Many of the social dancers had never even seen Pasodoble before, let alone learned any steps for the style. After a few bars of the song, two dance instructors who happened to be at the party convinced a couple of their students to go out and give it a try. It didn’t go super well, since Pasodoble is usually choreographed and isn’t done lead-and-follow, but when the DJ cut the song short and everyone cheered for them for giving it a shot. Hooray for them!
This past Monday night when I got to the Electric Dance Hall for Latin Technique class, I was sitting along the back wall with some of the others waiting for class to start. The ladies near me were talking about how tired they all were, and they were trying to figure out what they wanted to go over in class that night. They made a pact that they were all going to vote for Rumba, because even though what we’d likely cover in class might not be easy, at least it would be slower. Lord Junior wasn’t opposed to the idea, so that’s what we ended up doing. He decided that we should go through some exercises that emphasized Latin Walks, since he said that everyone can always work on making those better. Some of these exercises were done alone, some with a partner, and some were done first alone and then a partner was added in later.
We started out with just going over some single steps forward as Lord Junior discussed where we should be settling over the leg in order to initiate the movement, and how we should all think about the lines the legs create in each stage of the steps. After that, we spent time chaining steps together. First we did three four-count measures going forward (half starting on the right leg, half on the left). Next we did steps going forward that would rotate to steps going to the side. We only did two four-count measures of these steps so that we could have one measure starting out in each direction (forward-side-forward, side-forward-side). Like before, half of these were done starting on the right foot, and the other half starting with the left.
The next thing that Lord Junior wanted us to try ended up being kind of hilarious. His intention was for us to do Hand-to-Hands, but after replacing your weight to go back forward you were supposed to do a Spiral Turn that ended facing where your partner would be and then take a step to the side before rotating 90° to go into another Hand-to-Hand. You know how if you put your weight on one leg with the other behind you, you should only be able to rotate in one direction to do a Spiral Turn? Well… that didn’t seem to be the case in this class. For some reason, all of us (including me) at one point or another tried to rotate the wrong way, which just messed up everything after that.
After spending a few minutes laughing really hard at us, Lord Junior thought that we might be able to get through the turns properly if we worked with a partner, so the guys were paired with one of the girls and we tried things again. This is where I got messed up, because suddenly I was on the other leg and it threw me off for some reason. I think I had to go through two partners before I managed to work out my issues and get it down 100%. By that point though, everyone in class was so fired up that anytime one of us messed up and tried to turn the wrong way, it would set everyone else off laughing (including Lord Junior), so messing up didn’t feel so bad. Yes, we really were the ‘advanced’ class that night!
There was one final exercise that Lord Junior wanted us to try out that night. The idea was to start facing one wall, take a step backward and do a 180° pivot that went into a Three-Step Turn and came out as if we were a lady going into Fan Position. After going through this a couple of times, he decided to pair us off again so that we could work in partners. I spent a minute going through the step on my own using the opposite leg so that it wouldn’t throw me off this time when I had a partner with me.
When we ended while with a partner, we were essentially in Hand-to-Hand position. After watching us work through things with a partner a few times, Lord Junior had the brilliant idea of going from the ending back into the Hand-to-Hand with Spiral Turn action that we had done so spectacularly earlier. Yay…? The issue with trying to turn the wrong way during the Spiral came back with a vengeance, and it was still just as funny for everyone the second time around. Who says that technique-focused classes are boring? Not me, that’s for sure!
Finally, last night I was back out at the Electric Dance Hall for Standard Technique class. Lord Junior told us that we were going to work on some Tango, in honor of one of his students who was in class with us that night who would be moving away at the end of the week. Tango is her favorite dance style, so it was a fitting final dance for her, and we were all happy to oblige.
What Lord Junior failed to mention before class started was that the pattern that he was going to have us do was going to be super hard. Stupid hard, even. Normally I don’t have much problem picking up choreography, since there are so many women in class and I get to repeat the steps a lot more than they do, but this class it took me quite a while to feel even semi-confident with what my feet were supposed to be doing, so I didn’t switch over part way through to focus on other techniques. I’m not sure why that was. During most of the class my brain was struggling to just keep the steps straight, but now that I am home and sitting here on the couch writing this I can picture the figures perfectly. I bet if I had enough space in this room, and my cat was willing to dance with me, that I could get through it perfectly! Here, kitty, kitty, kitty…
We started off with our partner facing down the line of dance in Promenade Position. To set up for the first difficult figure Lord Junior wanted to do, we did a basic Promenade with the man closing and a Natural Pivot attached at the end to turn us back around so that we were facing down the line of dance again, this time in closed dance position. Easy enough. The first difficult figure that we did was a Gold-level figure called The Chase, but we did it using the alternate ending to the figure where you come out with a Chasse to the Right and end with a Whisk that rotates you 90° to the right and puts you back into Promenade Position. This would normally be used to turn you around a corner.
The next figure confused a lot of people because it is a lot like the previous one, so doing both back-to-back was what made this choreography particularly hard that night. We did two Fallaway Whisks in a row. Because we had allowed the outside foot to come forward after the previous Whisk, to start the figure we had to take one slow step forward on the outside leg before the first Fallaway Whisk, which starts with the inside leg. If you get through the first Fallaway Whisk correctly, rather than let the outside leg come forward after the Whisk part at the end you would just push off that leg after it crossed behind to start the second Fallaway Whisk right away. Most people in the class that night weren’t good enough to keep both of these Fallaway Whisks going in a straight line, so we would curve them as needed – sometimes almost going in a complete circle. After the second Fallaway Whisk we finished the pattern by adding on a basic Closed Promenade at the end.
Now that I’ve finished writing all of this, I have to go find some band aids. My cat was not too happy about me trying to use her as a dance partner, so I got slightly scratched. Still worth it. Until next week!