Tag Archives: Cha-Cha

Some Enchanted Evening


Last Friday night I headed out to the Electric Dance Hall to attend the party they were holding to celebrate the anniversary of their opening day all those years ago. The actual anniversary wasn’t really on that day, or even during that week, but Lord Junior said that as long as he had the celebratory party during the same month as the original opening day he would call that a win. I showed up at the Electric Dance Hall with tons of time before the actual party started, so the group class that was being held beforehand was still going on when I got there. They were going over some basic Cha-Cha stuff, so I prepared myself to dance a lot of Cha-Cha that night.

I had fun at the party that night. I feel like it had been quite a while since I had just gone out to dance for fun rather than going out to dance for practice purposes, and sometimes you need to just have fun. After all, one of the big three rules is that you’ve got to have fun, right? I believe that it’s right up there with staying safe as rule one, and keeping your form as rule two. I also got to spend time with a bunch of people I hadn’t seen in a while, and I did my best to hide my amusement at HotDog’s constant attempts to try to dance with only the youngest, most attractive ladies who were at the party. About halfway through the night Lord Junior gave a brief speech about how awesome the years at the Electric Dance Hall have been, and told us all about his hopes that the success of the studio continue for many years to come.

One unexpected thing did happen that nearly stopped my heart that night. I had just gotten done dancing something, I don’t even remember what it was now, and was going to work my way back to the side of the dance floor to pick up a new partner for the next song when suddenly I felt a hand on my shoulder. I turned around to see the Dance Robots standing there smiling at me. I love these two – they make me so happy. I see them at lots of dance parties around the area. They are like twenty-times my age, yet they are always the first ones to take to the dance floor on the nights that I see them, and usually the last ones to leave as well. You can just wind them up and they dance all night long! It’s amazing, and I hope I can be just like that when I’m older.

Anyway, when I turned and saw who it was that was laying hands on me, I was happy to see that it was the two of them. I was quick to exchange greetings and pleasantries, and I asked them how life has been treating them lately. The lady Dance Robot tells me that they have been super busy lately because they have been packing up in preparation to move.

What!!?!?!?!?!????!?!?!?!!?!?!?!?!?!?!??!?!?!?!??!???!??????

At that point, I am kind of staring at them with some sort of shocked look on my face, while the two of them are just exchanging looks and laughing about something. I’m thinking to myself how the whole Dance Kingdom would fall apart if these two moved somewhere else. Things just wouldn’t be the same, and it would be super sad!

Sparkledancer happened to be walking by at that point and stopped to greet the Dance Robots. When she sees the dumb look on my face, she asks them what’s going on, so they tell her the same thing about how they are getting packed up to move. She gets shocked too and puts her hand over her face in a gesture of surprise, but manages to hold it together well enough to ask about where they are moving to. The two Dance Robots are really laughing now, and say that they are just looking to downsize their residence, and they managed to find a smaller place just a few miles from where they currently live, so they’ll still be around to cause trouble at all sorts of dance parties for the foreseeable future.

Crisis averted. Those two… they think they are sooooooooo funny. If they weren’t so lovable, I might have to be angry with them.

Saturday morning came far too early. I had rearranged everything I normally have planned for my Saturdays so that I could head over to the Endless Dance Hall to help get everything set up for the big formal party that my little Royal Dance Court group would be throwing that night. I got to the Endless Dance Hall before we were scheduled to get started, since I was hoping to try to get some things out of the way to make sure that I could get out of there on time to be at my coaching session with Lord Dormamu later that afternoon. Sparkledancer had also agreed to meet me there at the same time, since she had to meet up with Lord Dormamu as well, so she was totally on board with getting things done as quickly as possible.

I was pleasantly surprised when I got there to find that all of the tables and almost all of the chairs had already been pulled out of storage and set up by the Endless Dance Hall’s staff prior to our arriving, and that the tables had been arranged in the manner that I had recommended! See, originally the members of the Royal Dance Court had wanted to put a table for the DJ in the middle of one of long wall against the back of the room, and line up six tables on either side of the DJ table curving down the short walls. This would have left a square-ish area for dancing in the middle of the floor. When I had gone to the Endless Dance Hall for the last competition I was in several weeks ago, they had set up six tables lined up along each long wall with a place for their DJ in the middle of one of the short walls, leaving a competition sized rectangular dance area in the middle. I had loved the look of that setup, so I had taken pictures of it and they were shared with the rest of the Royal Dance Court. While Prez was… skeptical about changing the layout, everyone else thought it would be great.

As I was taking stock of the situation inside the Endless Dance Hall, Sparkledancer and one other member of my Royal Dance Court crew showed up. Seeing the boxes with the chair covers and ties sitting over in the corner, I put the three of us to work on getting all the chairs in order. As more of the Royal Dance Court members showed up, I ended up having to tell them what things they should be starting on next, since everyone immediately started in on the chairs as well and no one went to work on any other tasks. Once Prez showed up with the boxes full of the pieces to assemble the centerpiece, I asked two of the ladies to go work with her on getting those put together and to leave the other tasks to the rest of us. I remembered what happened last year when too many people tried to deal with the centerpieces, and the arguments that followed, and how we ended up having to go back and change things several times… Not wanting to repeat that this year, I figured a small group could handle that task, and fewer hands would mean less rework required.

Things came together quickly, which was nice. We could have been slightly more efficient if people had stuck with the tasks I had asked them to do until they were finished instead of getting sidetracked, but overall I was happy to wrap everything up in about an hour and a half. I confess that I don’t often like to be the ‘alpha male’ in the room ordering a bunch of ladies around, but since I had a deadline that afternoon where I had to leave, I felt like exerting that influence was necessary to make sure that things got done. No one stopped me from delegating tasks, or questioned the executive decisions I was making to speed along the setup process, so I don’t think any of the ladies really minded me taking charge like that. Or if they did, they didn’t come say anything to me about it, which for right now I’m also going to count as a win in my book. Hooray!

Finished with the setup, I took off from the Endless Dance Hall to get to the Fancy Dance Hall for my coaching session with Lord Dormamu. This was the first time I had gotten to work with him since the competition I had done at the beginning of April. Because of that, Lord Dormamu decided that I have to go back to having things taken away from me since he still doesn’t think certain aspects of my dancing are right, and he wants me to focus on fixing those points while not worrying about anything else at the same time. Sigh… sometimes I feel like I am not actually moving forward, even though I’m supposed to be the Lead and I don’t walk backwards too often.

So what were the main points that I was able to take away from this session? I think they can best be broken down as follows:

  • I have to go back to keeping my nose in line with my sternum. Lord Dormamu says that, while it’s gotten much better, I still unconsciously lean my head to the right sometimes when I am thinking about other things, so until I can fix that habit I have to force myself to realign my default position to be neutral
  • On Double Reverse Spins in Waltz, he wants me to throw out the notion of “early quick rise” altogether. That is the technique you are supposed to use according to the book, but Lord Dormamu says that no one actually does it that way. To force Sparkledancer to bring her feet together for the Heel Turn, I should now take a shorter step that curves to the left going into the figure, which will force my partner to bring her feet together
  • Going forward, I am supposed to really emphasize the rise and fall in the Waltz by staying down farther (almost like squatting) on both beats one and three in the music, and rising up for beat two. Lord Dormamu said that he will be the one to let us know if rising and falling like that gets to be too much and we need to go back and smooth things out more, but that is how we should do it until he says otherwise

Sparkledancer’s only focus coming out of this session was that she needs to work on spreading her elbows farther and pulling her body farther to the left when in frame. There were lots of comments comparing her to a jet while he was getting her to do this, and the times that she did it right and was able to hold the position the entire time we danced something there were some explicit exclamations of joy. It’s funny when Lord Dormamu swears like that. English is obviously not his first language, and he only swears in English when really good things happen, so it catches me by surprise when I hear him do it.

That brings us to Saturday night at the formal party that I helped to host. All in all, the party went off without a hitch, and people seemed to enjoy everything going on. The dinner was good, but personally I think that the dinner rolls were the best part. After everyone had eaten and they allowed people to go back and help themselves to any of the leftover food, I think I went back to get three more rolls on top of the one I ate with my meal. Then again, the meal itself was much less food than I normally eat for dinner, so I was still hungry after dinner was finished (that is the one downside to building big muscles – you have to eat A LOT).

Throughout various parts of the evening, I was running around the dance hall taking care of things, trying to keep the people who came to attend the dance happy. The one person we had on hand from the Endless Dance Hall’s staff had been up most of the night working on something for his actual job (he just owns a gigantic dance studio as a hobby. Must be nice), so the few times we went back to the office to get things we had stored back there we found him sleeping, with the office lights still on even. That was part of the reason I tried to take care of things, leaving him to get some much deserved rest.

The dancing went really well. We did have a few minor hiccups on the dance floor, but I think those were all due to people having a bit too much to drink. There was one lady who was a bit out of control when she danced, but luckily her “date” who wasn’t actually a date took it upon himself to keep a tight leash on her about halfway through the dance. Lord Fabulous and Lord Scarry had come to the party with a large contingent of their students, and near the end of the night Lord Fabulous seemed to forget many of the rules of good floor etiquette. I saw him take one of his students and dance an East Coast Swing right in the line of dance while everyone else was dancing Foxtrot, and later in the evening I watched as he and Lord Scarry danced together, weaving a Foxtrot through all the other people on the floor doing East Coast Swing. But the worst one I saw was when Lord Fabulous took a girl who, by the look on her face didn’t know what she was doing, and attempted to do a Quickstep with her. They were all over the floor during that dance, not following the line of dance at all, and several times even traveling directly against the line of dance! That one scared me a bit, but luckily the song ended in short order.

Shortly after the halfway point of our party, I saw a new couple enter the building. I didn’t see any other members of the Royal Dance Court nearby, so I excused myself from the lady I was dancing with to run over and greet them. Introducing myself and asking if I could help them at all, they looked around a bit and told me they thought they were in the wrong place, since this didn’t look like the dance party they were looking for. I explained to them that this was my Royal Dance Court’s formal dance, and asked them what they were looking for to see if I could help. They said there was some sort of anniversary party at a ballroom studio, but they didn’t know the name of the studio off the top of their head, so they said they would just head out and call some friends of theirs to ask. I wished them luck, and they took off. Little did I know that this small event would become relevant later…

Even though Saturday was an exhausting day full of dance tasks, there hadn’t been enough time to fit in everything that I had to do, so I went out to do more dancing on Sunday as well. I had rescheduled my normal weekend coaching session with Sparkledancer and Sir Steven for Sunday afternoon, so I headed back over to the Fancy Dance Hall for the second time that weekend to see them. There was also a Latin workshop that was scheduled for late in the afternoon on Sunday that I really tried to make it out to, but I hadn’t been home all weekend so when I tried to take care of some things after getting home from my coaching session, I didn’t finish until after the workshop had already started, so I never made it there. Ah well, you can’t do everything, right?

The Fancy Dance Hall was quite a site when I got there on Sunday afternoon. The place looked trashed! All of the tables and chairs had been moved into piles in the corners or were pushed back against the wall, but I could tell that something wasn’t right after I walked through two really sticky spots on the floor as I headed over to take a seat next to where Sparkledancer was already waiting for me. Sparkledancer and I started talking about what we wanted to do to warm up before getting started, and where to go on the floor since I wanted to avoid the sticky spots I had already found, and both Lord Latin and Lord Dormamu were occupying different sections of the floor to give lessons.

Before I had even gotten my shoes on, Sir Steven came over to say hello. He had come out of the back room as soon as he had seen us, and was still eating part of his lunch, so I could tell something was up. He started off by apologizing to us for the state that the building was in. Apparently they had rented out the Fancy Dance Hall as a venue for a party the night before for some group that is associated with the Salsa community in the Dance Kingdom, and the party got to be out of control. They were still trying to clean up the mess that had been left behind, as we could plainly see. The party had lasted until well past two in the morning, and the rough estimates that they got from the people running the party was that just about 500 people had shown up, even though the Fancy Dance Hall is only rated to hold slightly less than 300 according to the fire code for the building.

The two girls from the Fancy Dance Hall’s staff who had volunteered to be on site during the party had started calling Lord Dormamu after midnight when they lost control of the situation, telling him he needed to get his butt back to the studio as fast as he could. Once the party was over, they had tried to clean up as best they could but called it quits after a couple of hours, leaving the place in a functional but messy state so that people could teach lessons on Sunday. Lord Dormamu had already called the service that comes in on Saturday mornings to clean their wooden floors to schedule them to come back as soon as possible and clean the floor all over again. There were sticky spots all over the place, and in the front there was a trail of stickiness that traveled all along the short wall in a curving pattern that looked like a giant slug had crossed the floor. I’m not sure how someone at a party managed to make a sticky mess like that, but it was kind of impressive to see!

So what was the funniest part of the whole mess? As soon as Sir Steven said the name of the event, I remembered the couple that had stopped in at the Endless Dance Hall during our formal party the night before asking about a dance party they were looking for. They had been looking for the party at the Fancy Dance Hall! Had I known that was where they were trying to go, I could have told them exactly how to get there! Small world, right?

Anyway, the stickiness of the dance floor turned out to be a metaphor for what we worked on that day with Sir Steven. He wanted us to slow down some of our movements, and to do so he had us practice leaving our feet ‘stuck’ to the ground for as long as possible in Waltz and Foxtrot. This involved doing something that I had really only done in Tango up until that point: bending my legs so that my knees extended out over my toes as far as they could before moving my back leg, filling up the time for each step. This sounds pretty simple, but it was easy enough to forget at times when trying to remember to also do the various points that Lord Dormamu asked me to do the day before (like keeping my nose in line with my sternum), and it requires you to really engage your core to help maintain your balance the entire time.

I couldn’t tell if taking my steps like that while dancing through portions of my Waltz and Foxtrot routine actually helped to slow down my steps at all, or if the steps just happened to be slower because I was trying to process so much information in my brain that it took extra time for the signals to reach my legs so that they would start moving. Either way, thinking about this did help slow down a few spots that I know tend to get rushed when I’m not paying attention (like coming out of the Reverse Turn in Foxtrot going into the Feather Ending). This is yet another thing to add to my ever-increasing list of items to do during my practice sessions. At the rate that list has been growing lately, I’m either going to have to start dividing the points up to work on only some homework items each practice session, or I’m going to have to find time to spend four or five hours in the studio for each practice session to fit everything in.

With all this dancing, it’s no wonder I have no time for much of a romantic life…

There were other dance things that I did this past week, but the stuff that happened this weekend is the important stuff I’d like to remember for posterity. Next weekend shouldn’t be quite as busy, though there will be some interesting happenings to write about. Outside of my normally scheduled weekend dancing, I have another lesson with Lord Dormamu scheduled for this coming Sunday before he heads out of town for several weeks. We’ll have to see if I am able to get in enough practice before that time for him to see a difference on the points he gave me last weekend. Wish me luck with that!

If We’re Dancing All Alone Or In A Crowded Room

Last Saturday morning I headed out to the Fancy Dance Hall for my scheduled coaching session with the Princess. I must say, by the time I finished up with that lesson, I was not feeling very good about how I danced at all. It wasn’t even like we really covered anything all that different from things I had heard from other people before or anything, she just wanted to emphasize different techniques that morning than the techniques that I have been focusing on in my other coaching sessions of late.

So what things did the Princess really want me to work on with her that day? The biggest thing was she wanted me to really use my body connection with my partner to drive my steps. She also wanted the lead to be coming mostly from my hips, just like Lord Dormamu had told me. I got to go through the semi-uncomfortable demonstration again where I had my hands put on the front of the Princess’ hips and had to hold them there while she went through some figures in Waltz. It was less uncomfortable for me this time around than it was when Lord Dormamu made me put my hands on his hips while he danced – I’m not sure if it was because I had already had to go through this weird exercise with a dance coach once already or if it was because she was female, and thus the threat of my hands accidentally slipping was less awkward to me (luckily I have gotten good at keeping my hands in one place).
  She also told me several times I needed to bring my left side more toward her when we got into dance position. I guess this is something that I am going to need to worry about with any partner I dance with. When I open my arms to allow the lady to walk toward me and get into dance frame, I keep my body in a neutral position with no rotation in my hips. I guess I was assuming that my partner would get into frame with me in the correct place without me having to rotate at my hips to adjust at all… but apparently that is the wrong assumption. So that’s something to keep on my list to look at adjusting before I even start dancing now.

There were several points that I also got called out for my head being in the wrong place. I know, this is a constant struggle for me, and even when I feel like my head is leaning slightly to the left I guess from the outside it sometimes looks like it is leaning slightly to the right. The Princess had this tendency to use her pointer finger to push against my head when it was in the wrong place to make me fix it. Several instructors I have worked with have done this before, but unlike those coaches the Princess has long fingernails that felt rather sharp as they were digging into the side of my neck. That wasn’t really the most pleasant thing to experience, especially when she decided to poke me like that when we were in the middle of dancing.

So yeah, there was nothing really earth-shattering from that lesson. We spent half the time working on Waltz and half on Foxtrot. The Princess was nice enough to tell me at the end that I have noticeably improved, but I still need to work on keeping things consistent and to fix some of these minor things to take it up to the next level. I don’t know why the constant starting and stopping to go back and fix things made me so unhappy with my dancing that day, but it did. I ended up leaving and heading off to go work out and burn off some of that negativity so that I could be in a better frame of mind before I went out to host a dance party later that night.

As I mentioned at the end of my post last week, I was out and about hosting another monthly dance party this past Saturday night with the rest of the gang from the Royal Dance Court. Well, I say “the rest of the gang” but really it was only about half of the group. Being a holiday weekend, many of the members of the Royal Dance Court were out of the area visiting with family. I had expected that we would see the same thing with all the dancers who would otherwise attend our party, leaving us with just a small crowd that night. As it turns out, since all of the other dance parties that would have otherwise happened that night were cancelled or rescheduled due to the holiday, ours was the only ballroom dancing event in the whole Dance Kingdom last Saturday night, so we had quite a large turnout instead. Hooray!

To begin the night’s festivities, we had invited a local instructor to come by and teach a class on American Cha-Cha for anyone interested. From what I was told, this instructor regularly teaches classes and lessons at the City Dance Hall, but I don’t remember ever seeing him there in all the times I’ve been to that location. That could be because I don’t often pay attention to the other male dancers when I am there since there are usually a lot more ladies than men, so my attention is needed elsewhere. He was a fun instructor though, and English was clearly not his first language, so some of the phrasing he used when explaining things was unintentionally funny. When class started, we initially had the same number of men and women, so I was hanging out along the edge of the floor keeping an eye on things.

A couple of ladies showed up about ten minutes into the class, so I ended up joining in at that point to help keep things as close to an even ratio as possible. I ended up in the front row next to the instructor because all the other men chose to stand in two rows behind him; I’m guessing so that they could watch what he was doing during class. Since I hadn’t seen anything new to me in the ten minutes I was standing along the side, I figured I could be right in front as well so that people could watch me too if needed. The pattern that was taught that night wasn’t that difficult in my mind, but there were a couple of parts that surprised the ladies that I danced with in class. Several ladies told me that the other men besides me and the instructor guy next to me were doing things differently – which was kind of a scary thing to hear from the ladies, since the progression we went through ended up being rather long. None of the men complained that they didn’t understand the figures we had gone through, so the instructor guy just kept adding on more until we ran out of time for the class.

We started out with what I consider a normal starter step for any Cha-Cha: a side step to the left on beat one followed by a backward rock step. After that we did a normal chasse to the right followed by a Crossover Break (or, in International Cha-Cha, a New Yorker). From there we did a figure that I had learned long ago as a ‘Snap’ but I’m not sure if that’s its real name – coming out of the Crossover Break, we rotate back to face our partner, but instead of doing a chasse to the left we stop her by putting up our right hand and then turn to do another Crossover Break to the right. This second Crossover Break led to the first piece that many of the ladies I danced with struggled to get through frequently: In the middle of the Crossover Break, you needed to pivot on your front foot (left foot for the Leads, right for the Follows) to go into another basic chasse to the right. This is an easy transition to lead, because if the guy has a good connection with his partner and rotates at the right time, the lady has no choice but to turn. From what I gather though, many of the men weren’t doing this correctly.

After the second chasse to the right, we went through the second figure of the evening that the ladies I danced with didn’t really understand until I went through things with them. This one actually surprised me though. All we were supposed to be doing was a basic Solo Turn to the right (a Solo Turn is where both the man and the woman turn at the same time – also called a Walk Around Turn). Many of the women I danced with just kind of stood there and watched me awkwardly when I turned, even though I was pushing against their left arm to try to get them to turn with me. Once I stopped to talk them through what should be happening, and let them see the instructor guy next to me leading the lady through the same figure, they seemed to catch on. Several of them told me that the men they danced with in the rotation prior to me weren’t doing anything like what I was trying to lead them through, which is why what I was doing was confusing them. I don’t know what to make of that figure causing so many problems though. I had thought that was a fairly common step that pretty much everyone knew.
  Coming out of the Solo Turns, rather than go back into normal dance frame we went into a wide two-hand hold so that at the end of the chasse we could do Cuban Breaks – one set to the left and then one set to the right. As we finished the Cuban Breaks and shifted our weight back to the left leg (right leg for the ladies), the men did a rock step backwards while leading the ladies through a normal Spot Turn. This led into our final chasse to the right of the evening, after which the instructor checked the clock and saw that there was still a bunch of time left, and asked everyone if they wanted to keep going. Most of the class agreed enthusiastically, so he added on two final figures. The first was a Fifth-Position Break on the right hand side, which set us up for the final figure. The final figure was essentially the Promenade Walks from East Coast Swing, modified to fit to Cha-Cha timing. I’m fairly certain this figure isn’t on the Cha-Cha syllabus anywhere (at least, not anywhere I can find), but if you’ve done Promenade Walks in East Coast Swing before you can easily do them in Cha-Cha as well.

Once the class was over was my big moment to step into the spotlight for a minute. As I mentioned a while back, there had been a few complaints from some gentleman who attended our social dances about dance hosts doing ‘fancy’ moves on an increasingly crowded dance floor. In order to combat these issues, I had been elected to start giving out a few pointers on floorcraft before our dances began, to help improve the floorcraft of our attendees, and thus improve the dance floor safety of our parties. I said I would write up a whole speech and present it here for you all to see, but I never got around to that. Instead, since I have become accustomed to talking to random people at these sorts of events, I decided to just wing it. After a brief introduction of myself and an overview of why I was giving this speech, I laid out three random floorcraft points from a list I had made prior to that evening:

  1. When we are dancing ballroom dances, there should be two different tracks. An outer track for those who take larger steps and move ‘faster’, and an inner track for those who take smaller steps and move ‘slower’. This leaves the center of the floor for people not moving or dancing a completely different dance style.
  2. To tie things back to the lesson, I reminded everyone that when doing New Yorkers or Crossover Breaks on a crowded dance floor, they shouldn’t not fling their arms out fully extended. Instead they should keep their arms at their side with their hands on their hips. I did make a joke about ladies dancing near a certain individual being allowed to throw their arms out to smack that person, which got a laugh.
  3. The biggest point I emphasized that night was that people who didn’t know Viennese Waltz or Quickstep should not be on the floor during a Viennese Waltz or Quickstep. I pointed out that a social dance, especially one on a floor the size that we had to use, was not a place to learn either of those dances. After my speech was over, the DJ also reiterated this point.

I closed my short speech with the three points about floorcraft that I had learned from Judge Dread, that the Lead’s job is to keep his Follower safe, keep her comfortable, and keep her entertained. These three points have stuck with me over the two years since I took that class, so I thought it would be a good line to close with. If I really do end up giving a speech like this every month before our Royal Dance Court dances, I think I will close with this line every time.
  For the first part of the dance, I mostly hung out in the back of the room to watch what was going on. There were a pretty even number of men and women at the party, so I didn’t want to get in the way of everyone else having fun. I did have one lady stop by during one of the first Cha-Cha numbers to ask me if I could show her the pattern that everyone had gone over during the class. She had missed part of it, and wanted to make sure she knew what was going on in case some gentleman tried to lead her through this new progression. I took her over to a mostly empty corner of the dance floor to step through it slowly with her, and she seemed to understand once we finished.

The most unexpected part of the dance happened early on in the night, right after the first Foxtrot number was played. I had been standing in the back during that Foxtrot, as I mentioned, just watching people, and making friendly conversation with the few people who came within range of me. After the dance was over and the DJ changed over to a different song and dance style, an older gentleman made his way off of the dance floor and over to where I was standing. My spider-senses started tingling immediately as I noticed his approach – this gentleman was the guy whom had made the complaint that led to me giving the short speech on floorcraft in the first place. I put on my best welcoming smile and braced myself for whatever might happen.

When he was close to me, he reached over and put his hand on my shoulder and pulled slightly so that I would lean down so he could speak in my ear. He told me that next time I should make a point to emphasize that the instructors that show up as dance hosts should watch out as well. Apparently one of the dance hosts that a group of ladies had hired to dance with that night had done what he called a “fancy move” on the dance floor, and he was near the guy when it happened, and it caused him to have to change his steps to avoid what was going on. I bit my tongue to not say too much in response to that, instead just nodding and agreeing until this gentleman was satisfied and wandered off. I really wanted to tell him that I was less worried about what those few instructors serving as dance hosts for the evening were doing than I was with the other social dancers who I see doing all sorts of crazy things on the dance floor, but I didn’t think that the middle of a dance party was a good place to get into that kind of dance philosophy discussion.

Sigh… I’m sure that this will come up again at our next Royal Dance Court meeting.

I missed out on Latin Technique class this past Monday because of things going on at work, but I did manage to make it to Standard Technique class on Wednesday night. We ended up working on Quickstep that night, focusing quite a bit on footwork that required you to be up on your toes for long periods of time. Without knowing that we were going to be doing this during class, I had unfortunately worked my legs really hard during my normal workout before class, so my calves were kind of unhappy before we even started dancing. I managed to grit my teeth and get through things, but I was happy when class was over and I got to go home and rest my legs for the night.

We began class warming up with chasse-like steps down the long wall. All of the steps were meant to be done while up on our toes, and we did several variations of timing, with a few runs that had some twists to keep things interesting. We began with normal Quickstep Progressive Chasse timing, then switched to chasses in Pepperpot timing, then did a few where it was Pepperpot timing with a 180° rotation on a slow step between the chasses, and to finish things off we changed over to Lock Steps in Pepperpot timing. The Lock Steps and the Pepperpot timing were good to end the warmup with because we used those in the actual progression we worked on for the rest of class.

Our progression was pretty basic overall. We started with a Natural Turn into a Natural Spin Turn, ending with a V6. The last step of the Natural Spin Turn was used as the first step of the V6 to make sure everything flowed together properly. We used the Lock Steps that you have in the V6 to work on the timing and footwork we had started in the warm-up. First we were doing the V6 with Lock Steps that had normal timing, and then we changed things so that the first Lock Step was normal and the second used Pepperpot timing, and finally we did both Lock Steps with Pepperpot timing. At the end of class when we were running through the figure for practice, we kept switching up which timing we were using just to keep everyone on their toes (ha ha! Unintentional humor…).
  I know there are several dance parties going on this weekend, but as of right now I’m feeling like kind of a stick in the mud, so I don’t know how much effort I will put into going to any of them. Staying home and curling up with my cat sounds like a grand idea. We’ll have to see what happens. I’ll let you know all about what I end up doing next week.

You’re Crazy And I’m Out Of My Mind

Last Saturday afternoon I headed out to meet up with Sir Steven and Sparkledancer for our regularly scheduled lesson. After Sir Steven had Sparkledancer and I run through all of our International Standard routines except Viennese Waltz to warm up, we looked at a couple of specific things that day which were different from the things we had worked on the last couple of weeks.

First up, we went back to Foxtrot to walk around for a bit. In the last several months Sparkledancer and I have done a lot of practice walking back and forth from one side of a dance floor to the other in Foxtrot. This is the major way we’ve both practiced moving backwards and forwards. Oftentimes we’ve done this by traveling down the floor using repeating Three Step and Feather combinations. This time, Sir Steven wanted us to work on walking, but he wanted us to be up on our toes the whole time, to simulate the steps we would take while doing foot rise, like the steps in a Progressive Chasse or a Weave. This was because Sir Steven wanted the steps we would take during both the Basic Weave and Natural Weave in our routine to cover as much distance as the steps we take for other figures. We practiced moving forward and backward while having our heels off the ground, separately then together, adding this as another exercise to do during practice.

Next we switched over to Tango to work on something that ended up being amusing, at least to me. Sir Steven spent some time working with Sparkledancer on changing the position she gets her left arm into when in dance frame for Tango. Sir Steven wanted Sparkledancer to start wrapping her arm more around mine, hooking her thumb underneath my arm and pulling it upward to lock her arm in place. The problem was that she couldn’t hold the position very well – her hand kept slipping upward as she pulled her hand in that direction. Sir Steven tried to get into this position with her to see if he could figure out why this was happening, but she had no problem keeping her arm where it was supposed to be with him. The two of them struggled with things for a while, and eventually they gave up and Sir Steven told her to work on it during practice so that we didn’t spend all our time on one thing.

After our lesson was over and Sparkledancer and I were walking out of the studio toward our cars in the parking lot, Sparkledancer confided in me that she thinks the reason why she was having issues holding her hand in place while in frame with me and not with Sir Steven was because his arms are tiny compared to mine. It is harder for her to wrap her arm around mine and hook her thumb underneath to begin with, and because my arms are not squishy, her hand basically slides upward around my triceps as she pulls upward. On Sir Steven, she can wrap her arm around his arm easily because his arms are smaller. Also, because his arms are not as muscular as mine, as she hooks her thumb beneath his arm and pulls upward she can press into his arm and create a bit of a groove where her thumb can rest to stay in place.

Sigh… it seems like I just have all kinds of dance issues that I don’t think anyone else I’ve ever met has to worry about.

Saturday night I got to go out and do something different for a change – still dance related, but not involving the grind that dance practice has become for me lately. I got to go out and chaperone a local high school prom again. This is something that I volunteered to help Sparkledancer with several years ago, and the people in charge actually accepted me. I guess that since, unlike a lot of other volunteers they get, I have had to have lots of different background checks in my life because of things I’ve done for work in the past, they actually considered me to be fairly trustworthy. I’ve been asked if I would come back and help again every year since then, and I’ve agreed. It’s a nice bit of volunteer work, and usually I get to dance a little bit as the night goes on, so it’s right up my alley.

This year the prom was held at a different venue than they had used the last three years. The place was an actual event center, and the room they had rented out for the night was really big on the inside. The dance floor was smaller than I expected, but because they had decided to have other activities going on in the event hall to entertain the high school students this year, there was lots of space on the dance floor for everyone throughout the night. The kids all tended to cluster in the middle of the floor right in front of the DJ’s booth, leaving big empty spaces on the right and left sides of the floor. I was once again in charge of watching the dance floor for any ‘inappropriate dancing’, so I was standing in the corner on one side where I had lots of room to wiggle around as I watched the cluster of people in the middle. From what I saw, there was really only one incident on the dance floor all night that one of the chaperones had to stop because it looked lewd enough to make someone uncomfortable. I didn’t see it though, so I have no idea what happened.

I will say I wasn’t as big a fan of the DJ this year as I was of the people they brought in the last few years I have helped out at this event. Last year the DJ they had was more technologically advanced, and you could send a message from your phone to request songs (which I did several times that night, to entertain myself). The years before that the DJs played a lot more songs that I was able to dance to, so I moved around a lot while maintaining my vigil on the kids to make sure everyone was behaving. This year… well, the music wasn’t really the kind of music I could dance to. It was mostly music you would hear at a 21+ nightclub meant for drunken bumping and grinding… except that this was a high school prom, so (as far as I could tell) no one was drunk, and the kids were all too young to know how to grind properly. That’s probably why no one felt the need to stop the kids from “grinding” during the evening. The “grinding” they were doing mostly looked sad, not inappropriate.

Close to the end of the night, after many of the kids had left the venue to head off to their after-prom parties, the DJ finally started to play better music. My feet were hurting from standing in one place all night, so I was eager to move around a bit and get my blood flowing properly. Sparkledancer showed up at that point, relieved from whatever station she was chaperoning, and we danced together a bit on the now mostly-empty dance floor. We got to do a couple of Cha-Cha numbers, a Jive, and a Rumba – much to the amazement of the few kids still on the dance floor. They all kind of stopped whatever they were doing to watch us. The last song of the night that the DJ put on as the lights came up and the kids all went off to find their coats was a Foxtrot. It was a bit fast, so we opted to dance American Foxtrot. The few remaining volunteers and the DJ were the ones that stopped to watch us dance a couple of laps after the kids had all left, and as we left the floor after the song was over the DJ thanked us for helping to make the event “classier” than the rest of the evening had been. Yay!

On to more interesting topics… let’s talk about Latin Technique class this week. It was a small class for some reason. Only Ms. Possible, Bony and I had shown up. Lord Junior decided to have us spend some time working on speed and change-of-direction in class that day, and we used Cha-Cha to accomplish that. The change-of-direction part was easy enough, but it was leg day for me when I worked out earlier (never skip leg day!), so my legs were tired and I think my speed probably suffered a bit as a result. I managed to get through things with the music as we increased the tempo throughout the night from about 60% up to normal, but I’m sure the closer we got to full speed the sloppier my legs would have looked if you had been there to watch.

The pattern we used started out with a basic chasse to the right, but after a few rounds we stopped doing that and started out standing on our right leg with the left leg pointed off to the side instead. From either start that we used, we then went into a normal New Yorker to the right, following that up with a Ronde that turned into a Press Line before taking a step to the left. Once the left foot was on the ground, we did an actual Ronde Chasse, rotating our bodies slightly at the end so that the last step was not a side step, but rather a step forward with our bodies turned out slightly to face away from our partner. Here we abruptly changed direction, rotating 180° without moving our feet. The turn wasn’t so bad, but since we did not do a rock step or anything after turning to kill the momentum we had when dancing closer to full tempo, the next movement was harder to go into while maintaining your balance.

After flipping around, the guys had it easy. We were just going to take two steps forward and one to the side. The ladies would do a Three Step Turn while we did that, and we used the side step at the end to line up with them and regain their hand before going into the next figure. I had to be careful with this section. For some reason I kept wanting to do a Three Step Turn as well. The progression worked if I did that, since I was able to link up with the lady at the end without issues, but I really wasn’t supposed to be doing that. Apparently I just like making things harder for myself for no apparent reason. No one seemed to notice when I accidentally turned though, so let’s just keep that as our secret, OK?

To finish things out, we did New Yorker on the left side, and then shifted our weight between our legs and back to left rather than doing a chasse. Then we did two New Yorkers with Cuban Break timing, first to the left then to the right. We did a final New Yorker to the left that was held for a whole measure to give everyone a chance to breathe. After the hold, both partners turned away from each other to basically walk around in a half-circle (counter-clockwise for the Leads, clockwise for the Follows). We took two steps, and then did a Lock Step starting with the left leg, then two more steps and another Lock Step, this time starting with the right leg. If done correctly, both partners should have met back up in the middle a couple of feet down the floor from where you started out.

Finally, let’s talk about what I got to do yesterday night in Standard Technique class. This week, Lord Junior wanted to work on the Outside Spin some more, but since we had already gone through the figure in Waltz last week in class Lord Junior wanted to change things up a bit. He decided that we were going to look at the figure in Foxtrot this week, and he wanted to make sure we added on a Ronde when coming out of the Outside Spin because he had so much fun doing the Ronde figures in Latin Technique class on Monday. After dancing through things himself a few times before starting class to figure out what he should make the timing in the Ronde figure to make it challenging for us, we got to work.

To start things out a little more gently than rushing straight into the Outside Spin, we began by facing diagonal wall and doing a Hover Telemark (which is the same footwork as a Twinkle from American Foxtrot) and went into an Open Natural Turn. That set us up nicely for the Outside Spin, and gave us a bit of momentum to work with to make the pivots and spins easier for everyone. At the end of the Outside Spin the Leads would lunge forward on their right leg, heading toward diagonal center, and rotate their body to lead the Followers through the Ronde that was mentioned earlier. Doing a Ronde like that in International Foxtrot is much more difficult than doing one in American Foxtrot. In American style you can split apart from each other and round out your arms in order to emphasize the turn and make the movement easier. In International style you are supposed to stay in frame the whole time, which includes maintaining body contact. This limits your lead when trying to lead the figure from your core instead, since most people can turn their arms slightly farther than their torso.

The Ronde was meant to be very slow, covering almost a whole three beats in the music. At the end of beat three the Leads finally shifted our weight back to the left leg and on beat four we brought the right foot down behind the left to do a small pivot, lining us up to face against the line of dance. Now we needed to turn around, since the force of our last movement was causing us to travel backwards. Lord Junior decided to keep things easy and add on a simple Open Telemark. The Heel Turn that the ladies were asked to do for this particular Open Telemark was probably the easiest Heel Turn that any of them had ever done. We were given the option of coming out either heading straight down the line of dance (i.e. no turn at all) or heading toward diagonal center (i.e. 1/8th of a turn). Finally, we could finish the whole progression by closing the Promenade through a Feather Ending, but oftentimes the lady would just stop dancing as soon as we took our first step in Promenade Position after the Open Telemark, ending the progression a bit more abruptly.

I’m still not entirely sure what I’m going to be doing this weekend. I had finally heard back from Lord Dormamu after class on Wednesday to say that he had set Sparkledancer and I up with coaching from some judge early Saturday afternoon, and that I should also be planning on some workshop for Saturday evening. The problem is that I had already been scheduled to take care of something for work mid-Saturday afternoon that I can’t get out of. Once I told Lord Dormamu that, he said that he would go back and discuss things with people, and let me know what Saturday looks like later. He never mentioned anything about whether or not I should plan on being in the competition he’s organizing on Sunday. I hope he lets me know soon – I had a friend ask me about something for Sunday, so if I’m going to dance I need to rearrange that as well. Sigh… I guess we’ll all have to wait and see what happens!

This Romance Is From Afar Calling Me Silently

Early Saturday afternoon I arrived at the Fancy Dance Hall to meet up with Sir Steven and Sparkledancer for our regularly scheduled coaching session. We started things off that day by running through all our International Standard competition routines aside from Viennese Waltz once, just to get started. Before our lesson had started, Sparkledancer and I had been warming up on our own and had been repeatedly running through the Progressive Chasses in our Waltz routine, since that is a place I know that I mess up the footwork when I am not thinking about what I’m supposed to be doing. Well, so much repetition that day meant that Progressive Chasses were on my mind, so when we did our Waltz routine while Sir Steven was watching, I totally replaced the normal Reverse Turn on the short wall with a Progressive Chasse to the Right. That made me feel a bit dumb, but he didn’t call me out for doing the footwork wrong when I did it, so then I felt good about that. I was very conflicted on how to feel about that figure.

Once we got past the opening, we spent a bit of time talking about things, referring to the notes that we had gotten back about our competition heats. Sir Steven told us that people who dance ballroom dances tend to fall into one of two categories: those that are better at Waltz and Foxtrot, and those that are better at Tango and Quickstep. He said that Sparkledancer and I together look like we fall into the first category, which is generally where most people place Sir Steven as well. Lord Dormamu on the other hand was ranked among the best in the world in Tango and Quickstep, so he would be in the second category. Sparkledancer and I don’t do Quickstep all that often, so that explains that one, and according to Sir Steven, it’s not that our Tango is bad, but the characterization of the dance doesn’t always look like Tango. As you can imagine, when our characterization gets off, it starts to look more smooth, like a Waltz of Foxtrot.

Based on that short discussion, Sir Steven said we would focus on Tango that day, and he would be talking to Lord Dormamu about him spending more time on that style with us as well. After all, working on our weakest points should help improve everything overall in theory. We started out with looking at the Promenade Pivot that we do, trying to really nail it down so that the rotation happened quickly and stopped exactly where it should immediately, instead of floating around like a Waltz pivot.

We also went back and looked at the Open Reverse Turn that happened before the Promenade Pivot. That day Sir Steven said that there was something that looked off about what we were doing, but he couldn’t quite figure out what it was. Each of us dancing it independently with him soshedances1seemed to be able to do things appropriately, but there was something that bugged him about us doing the figure together. There were two other instructors that also happened to be practicing on the floor that afternoon, and he called them over to watch what we were doing together. Then he had the two of them do the figure so we could try to find out what was different. I thought that the other two were doing a lot of excess movement in their upper bodies compared to what Sparkledancer and I were doing, but no one said anything about that. In the end we didn’t really change much other than to make sure we were rotated more in CBMP and that we were reaching our legs out of the way more when each of us was moving backward. It didn’t feel any different to me, but I guess that was enough to make Sir Steven happy that afternoon.

Don’t you hate it when one thing you do is bad, and the next thing you do is acceptable, but they don’t actually feel any different to you? It makes it hard to be sure you’re repeating what’s good. Grrr…

As I mentioned last week, this weekend I was helping to host the monthly dance party with my Royal Dance Court gang. Being February, we were having a Valentine’s Day themed party, and had chosen to have someone come in and teach some West Coast Swing to all of our guests to coincide with the big West Coast Swing gathering that occurred at the beginning of this month. Surprisingly enough, I did not really have to participate in the dance lesson this time around, because when the class was starting out we actually had an even number of men and women there. Crazy, right? I hung out in the back of the room watching things to make sure I knew what they had done, so that I would know what figures everyone would know if I danced a West Coast Swing later that night during the party. The class ended up being only an introductory lesson, covering the Sugar Push, Right-Side Pass, Left-Side Pass and a basic Whip – stuff that I’ve done lots of times before.

Hotdog showed up to the party about fifteen minutes into the lesson, and decided to come sit down near where I was standing rather than jump in and learn something new. He had never done West Coast Swing before, but after watching the class for a few minutes, he was telling me all about how he could totally do everything they were doing easily. I just smiled at him and told him he should jump into line then and prove it. He moaned a bit, giving me some excuse about how he had just got done working all day and he wanted to spend a few minutes sitting down before dancing all night. I just smiled at him and rolled my eyes after turning my head back toward the class.

(You can see where I’m going with this, right?)

Halfway through class a couple of new ladies showed up. After fiddling around on the couch to get their dance shoes on, one of the two ladies decides that she wants to participate in the soshedances2class. She came over to where Hotdog and I were and asked if one of us would go out there with her to keep the ratio even. Being the nice guy that I am, I ‘volunteered’ Hotdog, telling him that it was time to put his money where his mouth was. He managed to make it through the Sugar Push and Left-Side Pass with no trouble, but could not figure out the Right-Side Pass. After both he and the lady he was dancing with couldn’t figure out what was wrong, the two of them finally looked over to where I was standing (and chuckling), and gestured me over to help them. Let that be a lesson to you: never make big claims that you can totally do everything after watching it a few times if there is a chance you’ll have to prove yourself and you’re going to fail. Then you just look silly.

The party afterward was fun. Since most of the men hung around after the lesson, I didn’t have to work quite so hard that night entertaining ladies, so I got to walk around and talk to people from time to time. I heard an interesting tidbit from Sparkledancer while I was there – apparently, in the few days before the dance party, Hotdog had been texting Sparkledancer and complaining about being lonely. It was just after Valentine’s Day, after all. He was also asking her if she had any single female friends that she could introduce him to, which she never confirmed or denied. Well as luck would have it, that night at the dance party there was a new girl who showed up, someone roughly our age and apparently single. As you might guess, Hotdog met her during rotation in the group class, and then remained hovering near her side most of the night, as much as he was able at least.

At one point when this new girl was out dancing with some other gentleman who had asked her out to the dance floor, Sparkledancer went over to where Hotdog was sitting and told him that she was watching how he was hanging around with this girl all night, so if he didn’t man up and get her phone number or something by the end of the party than he was not allowed to complain about being lonely any more. Well Sparkledancer throwing down the gauntlet was good for him, and by the end of the night he did manage to get her phone number. Hooray Hotdog! Sparkledancer updated me about the situation before class last night: when he finally called her a few days after the dance party, they set up a date to meet for coffee and some kind of nature walk this coming Saturday afternoon. Apparently, you can find love at a Valentine’s Day dance party. Maybe that means there’s hope for me yet!

I had some amusing thoughts during my practice session this past Sunday afternoon with Sparkledancer at the Electric Dance Hall. I thought they were amusing, so I wrote them down. These are my dance notes to reflect on, so I can do whatever I want. So there.

I met up with Sparkledancer as is becoming normal this past Sunday afternoon at the Electric Dance Hall just for practice. Normally it is pretty quiet on Sunday afternoons, but this past weekend there were quite a few people hanging out there when I showed up. Besides Sparkledancer, I saw Lord Junior working with a couple of his students, running heats of their routines for a competition that they will be attending over the first weekend in March. Lord Fabulous was in a different corner of the room giving a lesson to an amateur couple that I had never seen before, and Lord Scarry was in the middle of the room giving what looked like a group class in Salsa to a bunch of teenagers. Sparkledancer and I did our best to carve out a line we could use to practice going down the farthest long wall from the door, away from everyone else.

While I was practicing, as I would be walking back to the corner so that Sparkledancer and I soshedances3could start over the wall we were running through, I would be watching what everyone else on the floor was doing. I’m naturally curious, so I couldn’t help doing that. Lord Fabulous’ couple especially caught my interest. The male partner was a larger gentleman, who looked like he greatly enjoyed partaking in carbohydrate-laden adult beverages. What I realized though is that this gave him a distinct advantage – he managed to quite easily maintain body contact with his partner, no matter what he was doing. That is something that I struggle with doing during some figures that I dance, because if I am not totally in sync with Sparkledancer and one of us moves more or less than the other, it causes us to break apart briefly. But this gentleman was maintaining contact with ease, and I’m sure he wasn’t even thinking about it!

Is that really the key that I am missing? A big belly? I mean, don’t get me wrong, I am quite fond of my low body fat percentage and the strength in my core that I achieved over years of training. Plus, when I actually have time to go out on dates with ladies, I think that is a point in my favor. But does having washboard abs actually work against me when it comes to maintaining body contact while dancing? Would I be better off if I started going to bars with my friends and actually drinking with them, instead of ordering plain water? Should I be eating more greasy foods or snack cakes to make me a better dancer? After all, I have been told that my upper-body musculature is detrimental to my dancing success, so if I go down the complete opposite route, does that turn it into an advantage?

Note: I have no plans currently to head in that direction, but this was the conversation I had with myself mentally when I was watching that guy dance. Maybe someday if I become independently wealthy and don’t have to work a real job anymore, I will have free time to give this idea of getting a huge belly a try to then I can spend all kinds of time after the experiment is over working off said belly. For science!

This past Monday night during Latin Technique class we worked on some Cha-Cha. This week we didn’t do anything overly fancy, we just did some hard work. We began facing our partner in normal dance frame, doing a starter step to the left into a basic chasse to the right. On the right side we did a Hand-to-Hand that did not rotate at the end, instead turning into three Forward Lock Steps. At the end of the third we rotated quickly, switching hands with our partner to do another Hand-to-Hand on the left side and going into four beats of syncopated Forward Lock Steps. At the end we stopped and held in place on our right leg (the lady on her left) before stepping forward and rotating sharply for one final Hand-to-Hand on the right that squared up with our partner into a basic chasse to the left.

Once we made it back to the left side, both partners did a solo Switch Turn, coming back together afterward for another basic chasse to the right. For our final section of the progression, we added on four Split Cuban Breaks (two moving in each direction), using the variation of the figure where you actually change hands as you would in a New Yorker. This was probably the section where you were moving the fastest in time with the music if you rotated properly for the figure. After all four of those were done we did an actual New Yorker with normal timing on the right side, ending with just a basic chasse to the left.

Wednesday night at Standard Technique class we got to do some Viennese Waltz, and much like we did with Foxtrot last week, we looked at things from both International Viennese Waltz and American Viennese Waltz. The figures that we were shown from the American Viennese Waltz syllabus were actually really fun, so I’m writing them down here to remember them for later in life. We started out by practicing our Reverse Turns, lining up at one end of the floor and heading down alone one at a time until we got to the other side. After each person got through that a couple of times, we partnered up and did the same thing. Next we switched over and went through the same exercise while doing Natural Turns. I focused on making sure that I was putting in the appropriate sway during the turns, and completely forgot about keeping my head in the right place a few times, so I may have gotten made fun of for that. Sigh…

Once we finished up these exercises, we switched over to working on a progression of figures that fell into the American Viennese Waltz tent. It started off with three normal Reverse Turns, and in place of the fourth turn the men squared up with the wall and led the lady through a Cross Body Lead and Underarm Turn. That opened up into what I’ve always called an Explosion, which is just the two partners leaning toward each other (sometimes touching their outside hands together) before pushing away and curving their arms up and around to the outside. You know, like an explosion. I’m sure there’s an actual technical name for the figure, but that’s what I like.

From there we did two Cantor Lilts with the first one passing the lady in front of the man and the second passing her behind. This was a bit weird for me the first couple of times I tried. I’ve done Cantor Lilts before, but I’ve always passed the lady in front of me going in both directions soshedances4so that I can easily keep an eye on her and line myself up accordingly. Passing her behind forces you to travel in a bit of an arc to make room for her, and everyone but Lord Junior struggled to catch hands with their partner at the end. I guess that will require some more practice. Once we did catch hands, we led the lady to step forward with us and rotate, kicking our outside leg upward from the knee as we did so before taking three steps back in the direction we came from, turning around in the process. We did that twice, and after the second one the men took a step forward, leading the lady to step with us before leading her into an Outside Turn and ending with a Hesitation. The Hesitation isn’t completely necessary, but it’s useful to make sure you’re back in proper dance frame before moving into another Reverse Turn, or whatever else you wanted.

So, that was my week! Lord Dormamu is back in action this weekend. I guess he went to have his old injury looked at, and there is a possibility that he may need to have another surgery to fix things. But he’s back to teaching for the time being, and this weekend I’ll get to have my normal lesson with Sir Steven, and then two hours later a lesson with Lord Dormamu so that he can see what we need to work on next. There is also a dance party Saturday night at the Cherished Dance Hall that I think I am going to attend, to make sure that I get to have some fun as well. Are you going to be there? I hope so. Maybe I’ll see you then!