I Give You He Who Suffers The Truth

This week’s stories of ballroom dancing that I have for you are actually going to be about the adventures of a different guy…

Remember that guy that I mentioned, the one whom Sparkledancer met on New Year’s Eve and she has continued to talk to ever since? He finally managed to meet up with her to go to some dance events outside of his home franchise studio! Sparkledancer has been telling me over the last couple of weeks that the guy was a bit strange, so she wanted me to be around at these dance events that she was going to, to help share the experience. Because I’m a sucker who is prone to being helpful, I agreed to go. These stories I am going to tell this week from the position of an observer.

My understanding of the situation surrounding this gentleman, whom I’m going to call Seedling, is as follows: he has been a member of a pseudo-franchise studio for the last two years. During that time he has had three different instructors. While he seems (at least, from what I can glean from talking with him) to enjoy the social aspects of the franchise studio, there are a couple of points that he is dissatisfied with. For one, the cost is too high for his tastes. For another, he believes that he is so much better than most of the other people at his studio, including his current instructor. Third, he was frustrated that his instructor had been holding him back in Bronze. She kept telling him that she wanted to make sure that his technique was good before promoting him, but he thought that he was doing great and was more than ready to move up.

Sparkledancer wanted to help him out, because she’s nice like that, so she asked Seedling what his dance goals were. That was where the story that Sparkledancer was relaying to me gets a bit harder to follow. First she was telling me that he said that all he wanted to do was be an awesome dancer. That is a pretty common goal, but the biggest things that help with that are time, patience and practice, so there wasn’t much Sparkledancer could do for him. Then he came back and said that he wanted to become a competitive dancer like her – but he wanted to do it by learning and competing in all the figures up through Gold, and worrying about learning the technique only after he finished doing that. Sparkledancer tried to caution him that going that route was possible, but to compete without mastering the techniques means placing badly in competitions, so he had to be ready to accept that.

That plan didn’t sound right to him, so then he told her that his goal was to be a super awesome dancer that was basically an instructor, and all the ladies would be able to recognize his skill and he could give “semi-private lessons” (his exact words) on the dance floor during parties. That really irked Sparkledancer, because she is really against men at social dances who think that they should be teaching women how they think they should dance during a party. So she told him off about that goal. Seedling backed away pretty quickly, coming  back with the idea that he wanted to become a Dance Host that women would hire to dance with at social dances instead.

When Sparkledancer told him that the majority of the Dance Hosts that are in the area are dance instructors from various studios, Seedling told her that he could totally be an instructor. After all, he reasoned, he wears all black when he goes out dancing already (yes, he actually said that to her), and he already helps other students in the Bronze I classes at his studio with their steps when they are having trouble. To that Sparkledancer responded that if he actually wanted to become an instructor, he should start off by talking to some of the instructors in the area to get some advice. After that, he would need to go back to his Bronze I classes and start learning the Follower’s part, because an instructor needs to know both sides. If he can master that, she told him that he then needs to make a name for himself so he can attract students.

Given that information, he decided to change his goal yet again. This time, he said that he was going to become a super high level competitor and make a name for himself by winning some big-name competitions. For some reason, he chose International Latin to be his thing. If he did that, he reasoned, then the ladies would come knock his door down to ask him to be their instructor. Bringing it back around, Sparkledancer told him that if he really wanted to do that, then he would need to start working on the technique immediately because that is really the only way he is going to win any competition, especially the bigger well-known competitions.

So this conversation had been going around in circles between Sparkledancer and Seedling for the last two weeks. I have gotten texts from Sparkledancer while at work where she has sent me snippets of things that he has said because she was having a hard time believing that he would think that way about whatever subject he was currently going on about. I think it’s kind of funny, since I haven’t had to deal with it firsthand.

At the end of last week, when the conversation between the two of them came back around again to how he wanted to become super good, but he was already better than his instructor since she only started dancing six months ago, yet he didn’t want to leave his franchise studio because he loved the people there, Sparkledancer finally threw down the gauntlet: she told him that he could go out to a few things that were happening in the Dance Kingdom that weekend and see what the dancing world outside of his franchise had to offer. Then, armed with that knowledge, he could make up his mind about whether it would be better for him to stay and be happy where he is, or leave and be happy on the outside. Seedling agreed to her challenge, so the great test began!

This was a particularly good weekend to go out and experience things for a franchise dancer – Saturday afternoon, Judge Dread (the internationally known ballroom adjudicator) was in town giving workshops. After that, on Saturday night there was going to be a social dance out at the City Dance Hall. Before the dance party there would be a lesson in East Coast Swing given by an instructor who has racked up a number of national dance titles in her competitive career. Finally, Sparkledancer told him that he should make an appearance at Lord Junior’s Latin Technique class on Monday night, since Seedling had decided that he wanted to dance International Latin competitively. That class would give him a glimpse into what the world of competitive technique for Latin looked like so he could see what he was in for by taking that path.

And so, Seedlings quest began!

The first stop on this tour of the outside world for Seedling was the Endless Dance Hall for workshops with Judge Dread. I only stayed for the first one because I had things to take care of back home, but Seedling stuck around for both – the first being in the Waltz, and the second in Cha-Cha. The Waltz concepts that Judge Dread went over would work for either American or International Waltz, but from what I heard the Cha-Cha choreography was purely from the American Rhythm side of the house.

There were two concepts that Judge Dread wanted to have everyone think about during his Waltz workshop – figures that progressed a lot down the floor, and figures that stayed in place. To give everyone an example of the first kind of figures, Judge Dread had us all do an Open Progressive Twinkle followed by an Open Natural Turn. The Open Progressive Twinkle was done at a very wide angle so that it started heading toward diagonal wall and continued almost straight in that direction. If the Open Natural Turn was done using the expected angle, you would finish the two figures heading toward backing line of dance.

To prepare us for a set of figures that would stay in one place, Judge Dread changed the Open Progressive Twinkle that we were currently doing so that it turned us 90° to come out diagonal center, and then he told us that we were going to move the Open Natural Turn to the end of the progression. In its original place we instead did the first three steps from a Weave From Promenade Position. After those steps we did a basic Reverse Turn which brought us to a complete stop with our feet together, setting us up for the first non-traveling figure – a basic Right Lunge. Coming out of that, he had us do a Spanish Drag, which is a picture line that you normally see in the Tango, but it works just as well in the Waltz.

The Spanish Drag was only held for one beat, allowing us to use the third beat of that measure for a Slip Pivot to turn us to face against line of dance. That positioned us for a Back Twinkle to change directions, and we began to travel again down the line of dance using the Open Natural Turn that Judge Dread had moved. Once we had all those figures down and everyone in class had run through the choreography as-is multiple times, Judge Dread told us that all the steps that we were doing were even in timing, so normally a dancer would try to mix things up by adding in figures that had syncopated steps to keep the choreography exciting.

With that in mind, Judge Dread showed everyone the footwork for the Grapevine as seen in Waltz. We put one of these in between the first Open Progressive Twinkle and the opening to the Weave from Promenade Position, and two of them in a row after the Back Twinkle near the end before the Open Natural Turn that finished the choreography. The whole progression was pretty long as you can see, but it flows very nicely from one piece to the next so it is easy to remember once you step through it a time or two.

Next up on Seedlings tour was the dance party held at the City Dance Hall on Saturday night. There we were given another long progression by the instructor that the group hosting the party had asked to come teach. This instructor was someone who I had met before, but I’d never had a chance to take a class or a lesson from her until that point. I must say, I thought she was pretty funny. There was a method to what she was trying to show the class, but she kept jumping around from point to point, often coming back to figures that she had explained before to tell us all something that she had forgotten when she first talked about the steps. The fact that I could follow her train of thought either means that I was paying attention really well, or I am actually pretty scatterbrained and so jumping around between topics makes sense to me (the jury’s still out on which of those facts is true).

Because we had a couple of people in the class that had never seen East Coast Swing before, the instructor started off by showing them how to do the basic. This was actually the part that threw me off the most – I came from one of those schools where they taught you to start off with the rock step for the basics in Swing dances like East Coast Swing of Jive. This instructor started with the triple steps instead. Even when I was thinking about what to do, my body still tried to wind up to take that rock step right at the beginning, and that messed me up more times than I would like to admit during her class. Please don’t think less of me for admitting that to all of you…

Once all the newcomers were comfortable with the basic, she began going through the progression she wanted to show everyone. The whole thing started with one normal basic, then added on a basic that rotated 90° counterclockwise. Once facing the new wall, she had us go into a regular Cuddle. After we came out of that so that the partners were standing across from each other again, she had us go into a more advanced variation of the Cuddle. The variation started out the same way, but once the Follower was wrapped up the Lead would take four steps going forward clockwise around the center point. On the third step the Lead would release the Follower’s left hand and move his right hand down to rest on her right hip, so by the end both partners were in a side-by-side position facing opposite walls.

The Lead’s hand on the Follower’s hip allowed him to give her a nudge to lead her to start the next part of the progression. We did three triple-steps in a row heading toward the Lead’s right. After each triple-step, the Lead would rotate their body 180° to face the opposite wall. Keeping pressure on the Follower’s right arm would get her to flip to face the other direction at the same time. So the progression was a triple-step, 180° to the right, triple-step, 180° turn to the left, and then one last triple-step and 180° turn to the right.

After the third triple step the Lead would bring their left hand up to lead the Follower through a Tuck Turn while he did two steps in place, which kept the Lead on time to do a triple-step with the Follower after the turn was finished. From here the instructor had us do another basic with a Link to get back into dance frame, and to give everyone a chance to take a breath before the next figure, which turned out to be a Lindy Whip. Coming out of that she had us go into Back Walks And Points (I’m pretty sure that’s the actual name of the figure), and we finished everything with one final basic.

The dance party after the class turned out to be an interesting test for Seedling… but we’ll get to that in a bit. Right now, let’s go over the final class that he went to outside of his normal studio this past week, which was Lord Junior’s Latin Technique class on Monday night.

During class, Lord Junior wanted to have us all work on the opening section from the Closed Silver routine for Cha-Cha that he uses with his competitive students. The opening section isn’t very long, but Lord Junior designed it to showcase a lot of quick movements in an attempt to try to wow the judges right at the start. It opens with both partners facing each other and going into a set of Cucarachas to the right, leading into four in-place chasses. After the fourth, we stepped backward on a diagonal to open up away from our partner while still holding on with the left hand – Leads going off to their right, Followers to their left. This was supposed to give us some space to do Cuban Breaks without kicking each other, but I have really long legs so sometimes if my partner didn’t step very big there still wasn’t quite enough space for me.

After a set of those with the left leg, we would pivot to turn around 180° so that we could do a set with the right leg as well. Finishing those we rotated to square up with our partner again briefly, then launched right into a set of four syncopated New Yorkers. Coming out of the last one we did one normal tempo New Yorker on the right side (which seemed awfully slow by comparison), which finished with a basic chasse to the left. That was all the figures that Lord Junior wanted us to do, so the rest of class was spent trying to perfect the movements so that everyone could do them at full tempo.

So after several days of romping through the world of dance outside of his franchise world, how do you imagine that Seedling felt about his future dance journey? Well, if the conversation that he had about his dance goals with Sparkledancer gave you any indication about his train of thought, you might be guessing that he would be unable to make up his mind about his future now that he has more information – and you would be correct. Seriously, I heard all about his discussions with Sparkledancer after each of these outings, and the guy was all over the place!

For instance, after Latin Technique class was over, I went home and was sitting on the couch looking at some things for work when my phone beeped at me. It was Sparkledancer, forwarding me a message that Seedling sent her after she asked him what he thought of the class. He said: “Yeah it was really good. I mean my instructor said it before but the WAY he said it made sense a lot faster. It was a slower class figure wise but a lot of technique in exchange.”

…I guess he missed the part where the class was called Latin Technique?

Anyway, on top of that Seedling was convinced that he was way better than all of the other women in class, telling Sparkledancer that he wasn’t sure why the girls were in the advanced class when they were struggling to keep up with him. He had the same issue with all the ladies that he danced with at the social dance on Saturday night, telling Sparkledancer that he thought he was so much better than all the women because he knew so many more figures than they did and the women were struggling to understand what he was leading.

…I know what you’re thinking, because it was the same thought that I immediately had too: if ALL the women are struggling to follow you, then likely the problem is not that the women are too low of a level compared to you. The common denominator in that situation is staring at you in the mirror.

Now that Seedling has been to two social dances in the world outside of his franchise studio, he says that it is exactly the same as the social dancing at his franchise studio – meaning that the majority of the women he is going to meet there are going to be outside of his age range for dating. With that information, he seems to be leaning toward wanting to be a competitive dancer. The conversations that Sparkledancer told me about are back to going round and round, because it seems like he wants to dance competitively, but going down that path doesn’t solve his original problem of dancing being more expensive than he can afford comfortably. It actually makes that problem worse.

From the sound of it, he doesn’t like the fact that the franchise studio he is currently a member of won’t cut him a break and let him take private lessons without paying for the group class package on top of that. But he doesn’t want to look at dancing with other instructors outside of his studio where he wouldn’t have to pay for group classes if he didn’t want to. I wonder if it’s because he actually likes this instructor that he has. Even though I have heard him say that he is a better dancer than her, so he isn’t sure that she can teach him a whole lot, secretly I suspect that because she is young and pretty, pays attention to him and praises him for everything that he is doing with a constant stream of high-fives and saying ‘Good Job’ instead of offering any criticism, he doesn’t want to leave her.

The young and pretty thing I know for a fact is something he likes – seriously, he was very eager to show me a picture of how pretty this girl was over the weekend for some reason. I didn’t even ask, he just started pulling up her pictures on some social media site on his phone right in front of me. It was a little creepy.

Overall, I think that Seedling’s weekend of adventure through the Dance Kingdom probably won’t change anything for him. I get the impression that he is set in his ways, even if he isn’t content with those ways. Change is hard. It’s daunting to look at a new path and convince yourself to take it knowing that you basically have to start over at almost the beginning to actually further your progress. I should know, I went through it before – both when I walked away from the franchise studio where I started out and had to adjust to dancing on the outside, and then again when I started to compete seriously under Lord Dormamu’s tutelage and he made me reset and go all the way back to the beginning in International Standard to rebuild my fundamentals into what they are now.

I don’t know when the next time I will see or hear about Seedling again will be. I suspect that this isn’t the last time he will show his face. I’ll be sure to let you know when it happens!

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But Oh, How I Changed And Oh, How I’ve Grown

**I feel like I’ve had this song in my head pretty much every day since I first heard it. It may be my current favorite song.**

Here we are! It’s 2019 already! Would you look at that. It feels like just yesterday I was in high school, dreading the thought of deciding what I wanted to do with the rest of my life. If I had the chance, I would totally go back in time and tell my young self that nothing I was worrying about at that time would matter, because somehow 20-ish years later I will be spending most of my free time training to be a competitive dancer. The look on my young face would be priceless I bet.

How did you end up ringing in the new year? I did it the same way that I’ve done it the last few years of my life – out on the dance floor! I spent New Year’s Eve at the Electric Dance Hall having fun with a bunch of people, dancing the previous year away. It’s one way to make sure that I get to start the year off on the right foot!

(Actually, the left foot, since, you know, that’s how I usually have to start…)

I like the way that Lord Junior runs his New Year’s Eve parties. It’s basically the kind of party that he would hold at his house for all his friends – if his house were a big dance hall. He had cut off a section of the dance floor in the back by moving up a line of chairs. In the segregated area he set up a bunch of tables for various games that people could play if they needed to give their legs a rest throughout the evening. Which was good, because he was planning on letting people dance all night long! Of all the dance parties I saw on the calendar for New Year’s Eve in my area, Lord Junior’s was the one that was open the longest – he started the night off at 8:00PM with a basic dance lesson for all the newbies, and the party was slated to go until ‘?’. I left the studio pretty late, shortly after 1:00AM I think, and there were still a fair number of people hanging out and having fun at that time.

There were a bunch of faces that I didn’t recognize at the party that night. Many of them were brand new to dancing and out looking for a different way to party on New Year’s Eve. As I said, at the beginning of the evening Lord Junior offered a dance lesson for everyone, and spent the hour covering really basic American Rumba and American Foxtrot. He promised all the newcomers that the DJ would play a fair number of these throughout the evening so that they could all get out on the floor and mess around with the steps he was showing them.

Somehow the class ended up with more men than women, so I opted to sit out so that others could take my place. Lord Junior convinced his wife (who was hanging around in the back of the studio) to come join the class, which made the number of men and women even. I wasn’t too sad about sitting out, believe it or not. See, I had stuck to my normal workout schedule just before I came to the party that day. I’ve switched back to doing heavy weight training after taking a couple of months off to let my body recover, and it was leg day that day, so I was definitely feeling my legs protest by that time. Having an hour during the class where I could just sit down and give my legs a chance to rest before dancing was actually really nice for me.

Once the class was over, everyone was released to have fun for the rest of the night. I think I spent much of the time that night alternating between dancing with people I knew and helping out newcomers with dances they didn’t know. Later on in the evening, Lord Junior roped me into going over to play one of the games with him that needed more people. He was super excited about playing the game (I think he had a bit of the champagne by that time), so of course I couldn’t let him down! That was a lot of fun.

At some point in the evening after the class finished up, I was looking out over the dance floor, and I was surprised to see that a familiar face that I hadn’t seen in a really long time had shown up. It was Young Dave! Yeah, that guy! That takes me all the way back to my days dancing at a franchise studio! I’m not entirely sure what brought him out to the party that night. Quite a while ago he disappeared from the dance world as the franchise studio gobbled him up with plans to turn him into a dance instructor. I heard later that those plans didn’t work out so well for him, and then he injured himself and basically gave up dance entirely. But I guess he’s back! Maybe this is a good sign – I assigned him one of the funniest Lego figures back in the day, and I was sad when he stopped showing up so I didn’t get to use that figure in pictures anymore.

While I’m on the subject of young dudes who came to the New Year’s Eve party, I think that Sparkledancer might have made a new friend that night. She had come to the party, but I didn’t see her for much of the night as she was bouncing around, dancing with her husband and talking to various people who wanted her attention. There was this one guy that I had never met before that kept going over to talk to her. I was introduced to him at one point by Sparkledancer – I think she did it so that he would talk to me for a while so she could run off and get a break. I don’t think he came to the party with anyone… or even knew anyone at the party before he showed up. That might explain why he latched on to Sparkledancer to talk to all night. She’s kind to strays like that. After all, she has kept talking to me for all these years. 🙂

Funny enough, I got a couple of texts from Sparkledancer the next day about this same guy. At some point during the night, she had exchanged phone numbers with him. From what I could gather from her story, he was a franchise studio student who was looking to branch out into the wider ballroom community. Partly that seems to be due to the high costs of the franchise studio which he didn’t want to pay any more, but also because it sounds like his old instructor left his studio, and this guy thinks that he knows more than the new girl who the franchise paired him with. So Sparkledancer offered to help be his guide to the wider ballroom community, and got his contact information for that reason.

She texted me on New Year’s Day to tell me that he was sending her a lot of messages to talk about dance and where he was hoping to go in the dance world. He has been dancing for two years now, and has had three different instructors at the franchise studio. He says that he wants to get into competitive dancing, but the franchise studio he is at doesn’t offer many competitions throughout the year and he isn’t sure if his franchise instructor would go to outside competitions with him. But he also told Sparkledancer that he doesn’t really want to work to be a competitor in the normal way. He wants to start going through and learn the figures so he can compete in Bronze, Silver and Gold, but he doesn’t want to worry about learning the technique until he finishes getting through all that. Huh.

But competing, much like taking lessons at his franchise studio, is also an expensive option, so he was asking her all about the cost benefits of having an Amateur partner for competing instead of trying to do Pro/Am, like she and I are doing. The creepy thing that Sparkledancer was telling me that I guess the guy was mentioning over and over is that he seems determined to find a dance partner and then also make that girl his life partner, so he wouldn’t stop asking Sparkledancer where he could go to meet all the young ballroom girls. I think she told me that he said he was 26 or 28, so he is looking for a girl who is between 20 and 24 who is also single.

To that end, it appears that he had developed a weird interest in Lord Junior’s current intern at the Electric Dance Hall. Lord Junior has this girl who I think is in her mid-twenties that he has been training so that she could become a dance instructor someday. She helps out at the studio with running the front desk and cleaning in return for free lessons from Lord Junior toward that end. The new guy met her at the New Year’s Eve party, and I guess she made a big impression on him. Probably because she was dressed to party in tight leggings and a crop top. Intern girl is funny sometimes – she’ll dress like that, which seems to imply that she wants attention, but if you spend any time talking to her you would find out that she is super shy and tends to avoid attention. It’s a strange dichotomy.

Anyway, new guy asked Sparkledancer several times about Intern girl, trying to pass off his inquiries as questions about what level she is and whether the two of them were the same so that they could start training together. That would be one thing, but Sparkledancer was texting me and saying that he was throwing out leading phrases to try to get Sparkledancer to give him personal information about Intern girl. That… sounded kind of creepy to me. Funny, but creepy.

(Also, as an update, I saw Intern girl tonight when I was at the studio practicing. She said that the guy had found her on some social media site, and had sent her a couple of messages. I guess it wasn’t just Sparkledancer that he was using to find out information – he also went right to the source! Intern girl, as you might guess, thought it was strange that a dude that she met only once was asking her all kinds of things, so she just deleted the messages he sent.)

So that was the fun dance related stuff that brought my previous year to a close and ushered in the new one. Good times all around!

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Now that the year is all over, I sit here staring at this page, trying to look back over the last year I had in dancing to think about where it’s taken me. Let’s see…

2018 saw me really embrace the competitive side of dancing and all but walk away from social dancing in that pursuit. Throughout 2017, when I first decided to start seriously competing, I tried to maintain the same level of social dancing that I had been doing up until that point. It got to be a lot, and the social dancing wasn’t really helping me remove all of those bad habits that the social dancing had caused me to develop in the first place. Throughout the past year the amount of time that I went out was cut back more and more, and by the end of the year I got down to only going out to dance parties maybe once or twice a month. That’s probably pretty apparent if I were to flip back through my notes and compare the types of things that I have been talking about lately with what I was talking about at this time the year before.

That doesn’t mean that I have been dancing any less though. If anything, the sheer amount of time that I spend at a dance studio per week has increased dramatically because I am out trying to get in more practice time. That is one of the downsides of dancing Amateur that most people who dance Pro/Am don’t even consider – I have to practice a lot to ensure that I can do everything correctly without even thinking about it, because I don’t have a Professional who could cover for any mistakes I might make.

Note: I don’t mean for that to sound like a bad thing. My coach admitted to me earlier this year that there are times that he hates competing in Pro/Am competitions. He is a retired World Champion (the real kind, where he won titles in major International competitions, not just the kind from the competition circuit in this country where they call their winners ‘World Champion’ for some weird reason even if all the competitors dancing are from the same state). His Pro/Am students are paying him for his expertise as a retired World Champion. If his students get tired during a competition, or do their techniques incorrectly, he has compensated for them so that those ladies will still win their competition. He told me that doing that sort of thing – leading and adjusting his student’s actions with his frame so that they always look good and always win their rounds – is really hard on his body. So yes, a Professional admitted to me that he will go out of his way to cover for mistakes his students might make.

I’m not saying that Pros have to do that for all students, just that (as an Amateur) I don’t even have that possibility. If my partner or I screw up, we both are getting judged for what we do, so there isn’t someone in our partnership who could cover it up… anyway, this is getting way off from the point that I was trying to make. Let’s circle back around again…

Also, in order to keep up with the high pace of improvement and change that my coach desires of my partner and I, practicing so much to make sure that any changes we make in our coaching sessions becomes muscle memory is not really optional for me. I must have things down before the next time I see him, so that I don’t let him down and so that we can continue moving forward. So I practice a lot now – much more than I did throughout 2017. I have actually been thinking about moving so that I am closer to one of the dance studios that I practice at in 2019 because I spend so much time practicing. Getting rid of the drive time would be great! Then I could spend all that extra time doing more practice, right? Right!? Sigh…

But the results of all the work over the last year have been better than I expected. I went to a lot more competitions than I thought I would when the year started (I think I did seven or eight of them – but don’t quote me on that). I placed a lot higher than I was expecting to in most of them. There were even a couple of competitions that I did where my coach was one of the judges, so aside from getting back placements I was also able to get back direct feedback on what I needed to improve while competing from him, which is super helpful. We’ll see if all the hard work in 2018 pays dividends for the competitions that I do in 2019.

I also worked with my coach to play the dance politics game from a very different side throughout last year. For example, one competition that I was told to go to earlier in the year I didn’t actually dance against anyone, and I knew I wouldn’t be going into the event. The organizers of the competition are important judges in the circuit, so I was told to make a showing there to help create some name recognition for myself with them. On top of that, there were several coaching sessions that I took with visitors who also judge competitions, for the same name-recognition reason. This side of dance politics is kind of an expensive game to play, and I don’t really like it all that much. But my coach thinks that it is important, and he hasn’t steered me wrong about anything yet, so I will keep following his recommendations. I’m sure there will be more political games for me in the year to come.

Based on how last year went, I have been wondering if I like being a true competitive dancer more than what I was doing before that, where I was mostly a social dancer who would get talked into competing occasionally. I’m not entirely sure. There are aspects of being a competitor that I like, but there are also a lot of pieces that are frustrating. Maybe I will spend some time in the future writing specifically about the trade-offs and detriments I see now that I am spending all my time focusing on competing instead of focusing on having fun as a dancer. That might be interesting. I’ll make a note about that so that I don’t forget.

Anyway… enough about that. 2018 was good in reflection, and I am looking forward to seeing where the adventures take me in 2019. There’s the potential for lots of crazy things if I end up doing all the things that my coach has been trying to talk me into doing. Bigger competitions, overseas competitions, training camps, meeting more people. He even talked about taking Sparkledancer and I to go to some dance event in his home country, and while we were there he would take all his students to his parent’s house so that we could experience his mother’s traditional cooking. I don’t know if I will end up doing all that next year, because theoretically I will only be competing in Silver at that point and it seems like a bit much, but there is potential so I’m not going to flat-out say no. We’ll have to see what happens!

Are you ready? I am! One more deep breath, and then let’s take off into 2019!

I’m super excited because tomorrow is my first ‘off’ day since changing out my workout schedule at the beginning of the week. The schedule I chose to take up is a five-on, one-off mix, which means I’m still technically working out six days a week, except for that one magical week down the road where the stars all align and then I will have an off day on the first day of the week, then five days of workouts, then a second off day on the very last day of the week! Calendar craziness!

My plan for tomorrow is that I’m going to use the time I normally reserve for my workouts to just stretch for a while. Since I made such a dramatic shift in the types of exercise blocks I am doing, my body is telling me that it’s a little unhappy – but in that good way, where your muscles are just complaining because you had been doing the same thing for several weeks and they had adapted to doing that, and now you are forcing them to work hard and adapt to something completely new. It’s the kind of pain that I love, because it tells me that I am working hard. Even so, a nice, quiet hour of stretching everything just sounds magical to me, so I am looking forward to it.

I imagine that there might be some people out there that are feeling the same way as I am – or maybe worse than I am – if they decided that regular exercise was their chosen resolution for the year. Obviously this feeling of soreness is something that I am used to, since I do this to myself fairly regularly to help avoid getting stuck at plateaus in my fitness. Exercise isn’t a resolution for me obviously, it’s just part of my normal lifestyle.

For people who didn’t really exercise very often and may now be trying to exercise frequently, I would guess that they are much worse for the wear than I am. You don’t necessarily want to follow my plan of action – I prefer to use stretching to alleviate any soreness I cause myself. I tend to stay away from drugs, even common pain relievers, unless I have no other recourse but to take them. So your mileage may vary.

To anyone out there trying their best to improve their fitness in 2019, I want to say that I am proud of you for making that choice. I hope that you not only reach, but then surpass any goals that you have set for yourself. And I believe that you can do that as long as you stick with it. If you’re just starting out, keep in mind that the first week is always the hardest. Don’t run away from the pain and soreness that you have right now – embrace that feeling, because it means that your body is changing! And wasn’t that what you were going for in the first place?

Let’s do awesome things this year. Whatever it takes!

From Now On Our Troubles Will Be Out Of Sight

Maybe I can actually keep this short this week. After all, I didn’t really do a whole lot, so there shouldn’t be much to say, right? I guess we’ll see how wordy I get by the time I finish. Let’s get started.

First thing is just a short story – Saturday afternoon I was out at the Electric Dance Hall since Sparkledancer and I had decided to meet there that day for practice. Things were going along OK for the most part, but the floor was randomly sticky in parts which made dancing super slowly while practicing our Waltz almost impossible if we happened to hit one of those sections of the floor. I guess the floor had been cleaned earlier in the day before we got there, and it must not have dried completely by the time we started. Seriously, it felt like I had to stop to re-brush my shoes a million times that day, because if I accidentally went over one of the sticky sections then my shoe would stick to the floor from then on no matter where I moved to. Sigh…

Anyway, that’s not really the interesting story, unless you like to hear about my struggles during practice. Do you? Probably not, I imagine. Near the end of our practice time Indiana arrived at the studio. She has recently worked things out with Lord Junior so that she could start teaching lessons there, so she has been trying to build up a client base around the Electric Dance Hall over the last few weeks. A new couple was meeting her there that afternoon for their first lesson, so she had come by a bit early to get everything set up for them.

Indiana and Sparkledancer got to talking a little bit while Indiana was waiting and I was off brushing my shoes (again). When I came back over to where they were standing, both of them were looking at me with big eyes, so I knew something was up that I probably wasn’t going to like. I’m sure all of you ladies know the look they were giving me – lots of ladies I’ve been friends with or dated over the years have given that look to me when they wanted something, so I assume that all ladies know how to use that same look. I’m such a sucker for it, too.
Apparently Indiana has recently started her own dance-related non-profit group. She is in the middle of putting together a show that will be kind of like a showcase performance, to use as a fundraiser for the non-profit. I’m sure you can see where this is going… Indiana has been trying to find people who would be willing to donate their time and perform in the fundraiser, and had asked Sparkledancer if she and I had anything that we would be able to perform. Oh yeah, and the show was going to be happening two weeks from that day.

This information set off all kinds of red flags in my mind, so I started to object and say that I didn’t really know any choreography that was show ready for an event in two weeks. Indiana countered and said that it would be cool if we just did one of our competition routines. I had to reject that idea, because those routines are actually super boring to watch – there is a lot of repetition because of the limited figure set they are built from. Sparkledancer asked if we could use one of our older showcase routines, which would save us from having to learn anything brand new. I thought about it, and said that idea might be possible, but I didn’t remember any of those routines off the top of my head so I would have to see if I had one on video somewhere that was a high enough quality that I could transcribe the figures from it.

When I got back home, I dug through my archive of old dance videos from both my lessons and performances. I could only find one video that was done with high enough quality where I could figure out the figures with a bit of trial and error. I sent Sparkledancer a text to let her know what I had found, and to see if she had found anything different that she had saved. She replied that she didn’t really want to do the routine that I had found, but she had some videos from the lessons on a different routine. It wasn’t anything close to the full routine, just a smattering of pieces, so she wanted to know if I had the rest. Unfortunately, using the date range on the videos, I didn’t have any pieces saved at all. All I had was a video of the performance, but it was a really grainy capture from someone’s cell phone where I couldn’t even see what was going on half the time, so that was going to be no help.

So I don’t know whether that was unlucky or lucky, but I won’t be performing on the weekend between Christmas and New Year’s. As I’m writing this, I actually feel kind of relieved since I know I have a lot of other things I’m supposed to be practicing. I have no idea where I would have found a bunch of extra time to work on this. Maybe next time, right?

Next up, let’s talk about Latin Technique class on Monday night. We ended up looking at Jive for the first time in a long time. Nothing that we covered that night was all that complicated, because there were two ladies in class that had never done any Jive before. In fact, a large chunk of the class was spent with Lord Junior making all of us go over the basic figure for the dance. He really wanted to emphasized the point for both the two ladies who had never done it before and the rest of us that Jive was not just East Coast Swing done fast. I’ll admit freely – that’s pretty much how I’ve always ended up doing it when I dance Jive. That’s one reason why I stopped competing in International Latin long ago.

Going over the basic in Jive really slow is always a fun exercise. The timing difference between Jive and other Swing dances is easy enough for me to nail, especially at slow speeds. Chanting “three-quarter, quarter, whole” in my head helps me remember while I’m doing it. Raising my knee up high when I’m supposed to is also pretty easy for me. I’ve got strong legs, after all. What really throws me off every time is when I start to do the lowering action with the opposite leg as I raise my knee up. For some reason, as soon as I try and combine those two movements for dance purposes, the figure just falls apart. Hilariously. I’m serious, I’ve been laughed at as people watch me try and do it, even if I’m going really slowly to try and get it right.

I like to believe that I’m fairly coordinated, so I don’t think it’s a coordination issue. I’m sure putting in some practice would help, but if I have time to practice I’m sure my coach would frown upon me using it for Jive. So, for the foreseeable future I expect that either I will continue to look hilarious, or I will leave out the lowering action so that I look passable. Or, even easier, I can just fall back to doing it like fast East Coast Swing, right? 😉

After amusing himself by watching us do the basic for a while, Lord Junior gave us a short pattern that we could work on instead to liven things up. He had us start out with a Change of Places Right to Left (which is just a Tuck Turn – why does Jive have stupid names for the figures?) followed by a Change of Places Left to Right (an Underarm Turn). At the end of the chasse to the right after the Underarm Turn, we did a checking action to start a Simple Spin. Once we connected with our partner again after the spin, the Leads would draw the lady back into Closed Dance Position and go into a Whip, which is where we finished for the night.

I’ve seen all these figures before in some variation or another over the years, so I managed to get through everything pretty well (if you ignore how funny my basic steps looked, of course). The two ladies who had never done Jive before… not so much. One of them got frustrated because she kept inadvertently adding in an extra step before the SImple Spin, putting her on the wrong foot. After the third or fourth time she did it, she started making growling noises whenever she messed up. They were loud enough for the rest of us to hear, which of course made all of us laugh. Latin Technique class is where all the funny people hang out, I guess!

Finally, yesterday night I was supposed to have a coaching session with Lord Dormamu, but I got a message from him earlier in the day letting me know that he was sick, so I got to go to Standard Technique class instead. In an odd turn of events, that night Lord Junior wanted to look at some figures from American Waltz instead of International Waltz. At the beginning of class he was telling all of us about how he had seen a lot of professionals lately adding Pivots in Shadow Position into their American Smooth routines, and though they sound easy to do, they are actually super hard. He was thinking of having all of us try some of those that night just for fun.

That never actually happened, since it was a struggle for some of the people in class just to get through the figures that led us into Shadow Position, so Lord Junior abandoned the thought of trying to do the Pivots in Shadow Position in favor of something slightly less challenging. All in all it was still a fun bit of choreography to go through, even if I never did figure out what to do with my arms when they weren’t being used to hold up my frame. There were several points where I’m pretty sure I just let my arms dangle loosely, because doing anything different with them just seemed so unnatural.

We started off in normal closed frame, then did a prep step into an Open Natural Turn. After that, the Lead would take a step back and then one to the side and hold position on the right leg while we led the Follower through a Three-Step Turn, putting them out on our right side. Next we shifted our weight to the left leg to lead the Follower to roll back in along our right arm as we rotated 180°, then rolled them back out. Lord Junior said that this Roll-In, Roll-Out move was exactly the same footwork as a figure from Cha-Cha, just adapted to Waltz timing. From here we rolled the Follower back across our right arm as the Leads brought our feet together and stepped out on our left leg behind them, putting us into Shadow Position.
It took us a while to get all the ladies comfortable with the figures just listed so that we could get into Shadow Position, which is why (as I mentioned earlier) Lord Junior didn’t even want to try having us do the Pivots in Shadow Position. Instead we did just a couple of figures to finish up the pattern. We started out with two normal Open Natural Turns, and began a third one. During the third the Lead would use the Follower’s left hand to lead them through an Outside Turn, placing that hand atop our right arm in the process to let them know we were going back into normal dance frame in Promenade Position. Once we secured their right hand in our left, we finished up by doing a Promenade Chasse, and closed with a basic Natural Turn.

Writing all about last night’s class really gets me thinking… remember when I thought that American Smooth was my thing, and I was so sure that I was super awesome at it? That seems like a million years ago now when I go through classes like this. Opening up out of frame just feels so wrong nowadays, like I have no control over what my partner is going to do as soon as I let go. I wonder if I was crazy back in the day… 🙂

This next week should be fairly quiet. A lot of people won’t be around because of the holidays, so there won’t be much dancing of note for me. I will have my coaching session with Lord Dormamu this weekend (assuming he is feeling better), so that is something to look forward to. Otherwise I should have some free time for more practice. Or studying. I have a bunch of material I have been studying for work that I could spend the extra time on. Doesn’t that sound like fun???????

So, to all of you out there – Merry Christmas, Happy Holidays, Joyous Kwanzaa, etc. etc. etc.. I hope you manage to get a few days off to celebrate with people you like. Maybe even people you love, but at least with people you like.

It’s Nothin’ Dangerous, I Feel No Pain

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!