And When I Start To Come Undone, Stitch Me Together

Lots of information this week. That tends to happen when I meet up with Lord Dormamu and he gives me all sorts of things that I need to remember. Hopefully this doesn’t end up running super long, but no apologies from me if it does. It’s all important, so I can’t forget to make note of it! But, to keep things easy to understand, let’s go through everything chronologically.

Last Saturday I agreed to meet up with Sparkledancer and Lady Tella so that the girls could use me again as a dance dummy. We spent the entire time looking at Tango. Most of the items that Lady Tella talked about were for Sparkledancer’s benefit, with very little information that was actually related to me. I took a few notes anyway, because it is useful to remember what your partner is supposed to be doing, right? Also, there’s always the off-chance that something that I write down will be helpful to someone else who may come across my notes, so it’s good to have information for both the Lead and Follow parts of the dance mixed in.

One thing that Lady Tella and I did spend some time talking about without Sparkledancer was the Back Corte. She had been working with Sparkledancer on how to improve her shape while we do the hold for that figure, and came to dance through it with me to demonstrate something. After we got through, she told me that it felt weird to her, so she wanted to do it again. We went through the steps three or four times so that she could figure out what felt off to her, and it ended up being that she thought that I was coming around too much on my first step, which was making it hard for her (and ultimately Sparkledancer) to create the shape she desired in that spot.

I told her that I had been given a couple of different theories on how to do that particular step, with no one ever giving me a final decision on what was best. I’ve had coaches tell me that if I start out facing the wall, my first step with my left foot should curve around my partner enough so that my toes are pointing backing line of dance. Other instructors have told me that the step should be to the side and slightly back, with my toes pointing toward the wall when finished. I had just been kind of taking a step that was between those two points, splitting the difference in case anyone ever stopped to look at it again.

After explaining that, I asked her two things: A) where does she prefer that my step end up to help create the shape she wants, and B) what does ‘the book’ say the correct foot placement is? I knew that there was a copy of the magic book of Standard Syllabus figures floating around the studio, so I wanted to know what it said in case anyone asked me in the future. I have a copy of the book at my house, but I’d never looked up the Back Corte in it before, since I had never had a reason to until that point.

The book said that taking the step around my partner so that my toes were pointing backing line of dance was the correct way of doing things. Lady Tella didn’t like that though, since she thinks that it makes the rotation too big. She prefers it when the step rotates around the side of my partner like the book says, but only until my toes are pointing backing diagonal wall. That’s what she and her professional partner do when they have Back Cortes in their competition routines, and she thinks that it feels the most comfortable. I told her that I could do that for her, at least until someone else comes along and gives me a good argument as to why I should do it a different way.

As for what Lady Tella and Sparkedancer worked on, they started off by continuing to talk about the best place to line up the connection point with my body. It’s funny when they talk about this, because I end up just standing there with my weight on my right leg while the two of them are pressing themselves into and wiggling against me, talking about where their ribs are and what direction their boobs are pointing. I guess that has to be the best way to describe getting into the right position, because they sure do mention it a lot. Either that or they are trying to see what it would take to make me blush. One of the two. These are the sorts of things that are considered ‘normal’ in the world of competitive ballroom dancing!

As for the other items they discussed, all I have are short notes: in the Back Corte, Lady Tella wanted Sparkledancer to focus on keeping her elbows up as she opens away from me, and to watch the topline to make sure that her arms are mostly parallel with the floor; When getting into Promenade Position, she wanted Sparkledancer to swivel her back foot more; During the Open Reverse Turn, Lady Outside she told Sparkledancer to keep her hips back; In the Natural Promenade Turn (a.k.a. Promenade Pivot) Sparkledancer is supposed to focus on keeping her body out in order to keep the volume up; and finally, in the Right-side Lunge, Lady Tella noticed that Sparkledancer was taking her last steps before the first pivot weird, as if anticipating the turn. She told her to focus on taking all three steps straight toward me. She also wanted to see less head movement to avoid the chance of creating body movement, since the head movements are so fast, and to focus on emphasizing the left direction in the head flicks. Whew!

Monday night was a rough night for me. I had gone to my gym after I left the office that day, and decided that it was time to up the amount of weight that I used in a fair number of my sets, which meant that I pushed myself to failure quite a bit during my workout. Because of that, my upper body was a little burnt out, as you can probably imagine. When I went to Latin Technique class later that evening, I was really hoping that we would spend our time doing some Rumba just to make things a little easier on me, but that did not happen. We ended up doing Cha-Cha instead, much to my chagrin.

Much like the week prior, we had a lot of ladies show up for class that night. A LOT. Then, just before class started, those three young sisters who had come to class last week showed up again to join us, which added even more ladies. With so many ladies and only the two of us men, Lord Junior was nice enough to have a little pity on me and decided that we would work on some solo choreography again like we did during the last class. Yaaaaay. At least that allowed me to flail my tired upper body around on my own without worrying about wrecking anyone else’s steps. Hooray for that, I guess.

We broke things down into sections, with Lord Junior giving everyone one figure to add to the progression at a time. After looking at each new figure individually, he would have us go back and do the whole thing from the beginning. His focus with this progression was to have us all work on speed, which as many of you know, is a pretty important part of the Cha-Cha. To get us all moving, we started with a prep step on the left side and then went into a basic chasse action that went to the right. The first thing that we added on to that were two Outside Checks (that’s the name I learned for the figure waaaaaaay back in the day), one on the right and one on the left. This first section was done using basic Cha-Cha timing.

The next figure sped things up a bit as we added on both kinds of Cuban Breaks that I know of offhand. First we did the single version, checking to the right, then transferring to the left leg with no chasse and repeating. Immediately after those we did the double variety, the one where you do a checking action and then put your foot back out to the side and do a weird hip-bump before checking again. You’ve probably seen both varieties of these done before somewhere, if you haven’t done them yourself. Based on what I can find in the book, these are only Silver-level figures, so a lot of you have probably done them at some point or another.

To give us a brief break and change the dynamics of our movement a little, the next figure that we added on to the progression were slow Cuban Rocks. There were four of these total (two with each hip), and each one covered two beats in the music. We finished the whole progression by doing two Hip Twist Chasses, first to the right and then to the left. For some reason, that night I was having a much easier time doing the one that started off rotating the right hip back to bring the left foot forward than I did going the other way. Whenever I have had this figure in a routine in the past, or if I ever use it while dancing socially, I always seem to do the one that goes to the left, so I would have expected that side to be more comfortable for me. I guess not.

With music playing we ran through this progression a number of times, starting out slowly and then pushing the tempo up toward normal. Near the end of class, Lord Junior gave us a break from the progression to have us work with a partner to do some New Yorkers, also with a focus on speed. This was a simple exercise involving a prep step and then a basic chasse action going to the right, four syncopated New Yorkers that went back and forth, then one New Yorker at normal timing to give everyone a chance to slow down safely before finishing with a basic chasse to the left.

Once we had done a fair number of repetitions of this New Yorker exercise, Lord Junior had us all go back to the original progression right before class was over. He threatened us saying that he didn’t want to see anyone mess up the figures, and that if anything less than 75% of the class did the progression perfectly, he would make us repeat the whole thing plus increase the tempo of the music, and we would keep repeating and increasing until at least 75% of us got it right. I guess the threat was scary enough to motivate everyone because we only had one person mess up in the first run-through, so we didn’t have to repeat the exercise at all. Way to go team!

I ended up having to skip Standard Technique class on Wednesday night to meet up with Lord Dormamu and Sparkledancer to work on stuff. Since we are just a little more than two weeks away from the next competition I am supposed to be doing, that night Lord Dormamu had us go through our Waltz, Foxtrot, Tango and Quickstep routines for him so that he could get an overall impression of how they were going. I got a number of notes from him that night, so this might end up being a bit long…

We started off with the Waltz as I expected we would, but what we spent most of our time discussing wasn’t the material that I had actually been working on in practice this past week. The leg action that has been our focus lately is getting better, as we were told, but still needs more practice. Fair enough, that was pretty much how I felt about it before we started our coaching session. Rather than spend any time working on it with us though, Lord Dormamu started talking about how Sparkledancer and I looked while in frame.

So far, with the work that Sparkledancer has been doing with Lady Tella, Lord Dormamu thinks that we have been moving in the right direction and are looking good for a pair of Bronze dancers. That is actually what his problem is as well. He wants to have us immediately start working on moving things to the next level. I guess he has plans to get us signed up for some really high stakes competitions that will happen before he moves us up to Silver next Spring, so moving all these techniques up to ‘the next level’ (whatever that actually means) is his new goal for us.

To help us visualize what he wanted us to work on, he pulled out his phone so that he could show us a video. There was some recent post he had seen by some Amateur couple that is the current world champion of something-or-other – who also happen to be friends of his that he has coached – where the video clearly shows the two of them getting into frame. As they came together, he paused the video so that he could point out the differences between what their volume looked like and what we were doing. Once in frame, the lady was positioned in such a way that, if you looked straight at the Lead, her upper body was bent over far enough that you could see the Lead’s whole shoulder line, and his whole right arm down to his armpit. That is definitely a lot of space between their heads!

On top of that, the male had a slight curve in his back, which helped to give the illusion of increasing the volume between the two of them even further. Overall, when I looked at the way they were standing together, and the big open space their arms created, it really reminded me of the closed frame used in Paso Doble. I mentioned that, and Lord Dormamu actually thought that comparison was funny, but not incorrect. There are some obvious differences between ballroom and Paso Doble he said, but the idea behind that shape puts Sparkledancer and I closer to what he wants us to work on.

Sparkledancer is closer to my height than the girl in the video was to her partner’s height, so Lord Dormamu told her that if she could create the same shape as the girl in the video, people looking at the two of us would be able to see the top line of my shoulders for sure, but not my entire right arm down to my armpit. He was worried that if she tried to bend back that far so soon that she could hurt herself. However, he did mention that there was no limit to how much she should bend, so if over time she could work on her flexibility enough and bend so that people could see my entire right arm down to my armpit, that wasn’t a bad thing.

The rest of the time we spent looking at the Waltz was focused on hitting something as close to that position as we could when in frame, and then trying to move around while maintaining it. This was not exactly the easiest thing to do. I’m sure it will get better with practice, but I can’t say that it looked or felt good at all during this lesson. I guess that can be considered a good thing? Someone once told me that when something that you do often feels terrible, that’s when you know change is happening. If it always feels comfortable, then you are never really improving.

After Waltz we moved on to Foxtrot for a little while. Foxtrot is still our strongest dance according to Lord Dormamu, no question there. The two things that he pointed out to us that night that he wanted us to work on were creating and maintaining that same kind of volume in this style as we had worked on in the Waltz, and then the action of my legs as I accept the weight into them at the end of a figure in preparation for the next figure. That action is what I have been working on in practice for a while now, and it isn’t perfect just yet. It’s a lot better than it has been, so that’s good at least.

From Foxtrot we switched to Tango, which in Lord Dormamu’s assessment is our second best dance style currently after the Foxtrot. The frame in Tango is obviously different from all the others, so for the time being he didn’t want us to worry too much about the volume while we practiced that aspect in the other styles. One minor change that he noticed that he wanted us to put in was to the first Natural Twist Turn that we do. He wants me to adjust the end of the Open Reverse Turn, Lady Outside that is right before so that I end facing diagonal wall. That sets me up so that the Progressive Link that goes into the Twist Turn will have a full quarter of turn. Up to that point I had been told to end facing wall, so the Progressive Link only did an eighth of turn. Simple enough.

I also asked him about the Back Corte that I had looked over with Lady Tella that weekend, to get his perspective about the angle on the first step. After looking at us do it a couple of times, he told me that he was happy with what Lady Tella told me to do there, so I should use that angle until he tells me otherwise. Hooray!

Finally, we spent just a couple of minutes looking at the Quickstep right at the end. We danced through the whole thing once and then Lord Dormamu called us over to where he was standing. Before he even said a word, Sparkledancer apologized for taking a heel step at a wrong point near the end of a Backward Lock. Lord Dormamu said that he had seen it, and was going to point that out. Sparkledancer confessed that she had been thinking so much about trying to create and hold the volume the whole time that she just got it wrong.

Lord Dormamu seemed fine with that, but then he went off on a little tirade about how he thought that Syllabus-level Quickstep was just stupid. He told us that as long as the couple is on time with the music and the footwork is correct, there really isn’t much else that you can use to separate a good couple from a bad one beyond the way their frames look. Basic Quickstep doesn’t have any complex figures like Foxtrot or Tango, so when he’s judging a competition he finds those rounds to be boring.

He told us that all we needed to do whenever we practiced Quickstep was to split it into five rounds of two run-throughs with no music. The first time through the routine we should focus on the feet, making sure they are grounded to the floor and that the footwork is based on the action of the step, not just superficial heel or toe steps because we know we’re supposed to do those. The second time through the routine is where we focus on the volume. After five rounds of each of those two practice runs, we should then dance the routine once to the music, and then we are done and should move on to something more important.

At the end before we left, we spent a few minutes talking about an upcoming development that is going to impact us. I’m not sure if I can quite talk about it yet before I have all the details, but it’s going to happen. So… yeah. There’s that to start thinking about.

Man, I think that my weekend is going to be mostly free to do things that I want to do! Obviously I will have to set aside some time for practice, but since many of the instructors in the area are performing in a big show this weekend, there won’t be any private lessons for me to go to. I heard that Judge Dread is going to be in town running some workshops, so maybe I will take this opportunity to go to one of those instead! It seems like forever since I was able to do that, since my lessons with various instructors always seem to happen at the same time. Hopefully it will be fun! Maybe I’ll see you there.


This Is Where We Dance Tonight

I mentioned last week that I had some stuff to take care of at home last weekend, so I didn’t actually go out and do much in the way of dancing, but what I did go out and do made my head spin a little. I’m sure that you’ve seen in the past that I’ve referred to Lord Dormamu as my ‘coach’ and not just my ‘instructor’ – that is a very deliberate choice of words. Sure, I do get together with Lord Dormamu for instruction on how to improve my dancing, because he has lots of things that he can teach me. However, on top of that, Lord Dormamu also helps my competitive partner and I play the games that are involved with doing well in the competitive dance environment. When I met up with him this weekend, we spent a good long while discussing just that.

The lesson block that I had scheduled with Sparkledancer and Lord Dormamu ended up running really long last Saturday, but that was because we spent a large portion of it just sitting around a table talking. We went over the results of the last competition, my analysis of the results, and made a bunch of plans for what Sparkledancer and I would do going forward for the rest of the year. You know, all sorts of coach stuff.

Between the three of us looking around online, we managed to find a large number of competitions for Sparkledancer and I to consider signing up for before the end of 2018. We narrowed the list down to six finalists. Several of these are being held at venues that are only a short drive from my house, so those ones are more than likely to happen. A couple of them will involve traveling quite a bit… like hopping on a plane to get there, because driving to the location would require taking extra time off of work. Plane tickets obviously drive up the cost of those events considerably, which is always a little bothersome. It’s not that I can’t afford to do these things, it just makes me think about how much money I actually want to spend to travel and compete while Lord Dormamu is still holding me at Bronze?

One other point that we looked at was the historical evidence that we could find to give us a rough idea of how many people we might be competing against in these chosen competitions. I personally don’t think it’s super worthwhile to dance unopposed – I mean, unless I screw something up pretty terribly, I am guaranteed to get first place. For some people, getting a first place ribbon/trophy while dancing unopposed is something that they celebrate. I know a pair that competes in Amateur competitions for both Latin and Standard, and there have been lots of times I’ve run into them at competitions where they exalted me with stories of all the first place ribbons that they won so far… only for me to find out later that they didn’t have anyone else dancing against them.

While it does make me happy that they are happy for winning those first place ribbons/trophies, for me, it doesn’t really feel like I earned anything if I win that way. I say this because there is one competition in particular that Lord Dormamu wanted us to go and do that was like this – it’s a new event this year, and based on the registration information we could find online, no one else was signed up in any of the events that we would be heading out there to do so far. Because it looked like there was a chance that we would just be paying a bunch of money to travel out there and dance unopposed, I argued that it wouldn’t really be worthwhile.

Lord Dormamu had a different take on the matter. He knew the people who were the organizers of this new competition. Apparently, in addition to organizing events like this throughout the year, they are also well-known adjudicators who are brought in to judge many high-level competitions that he wants Sparkledancer and I to end up going to as we move up in the world. His view was that it was more important for Sparkledancer and I to show up and support this competition, even if we end up dancing unopposed, so that we can get in good with the competition organizers. If they see us at their brand new event, and then see us later competing at an event that they are judging, that could be the little bit of political capital that we need to get marked better than someone we are competing against if we are otherwise dancing at the same level.

There it is, the dreaded Dance Politics coming back into the picture. Going to this event sounds like it is purely a political move, not really a test of how well we dance in front of the judges. That means that when I go there, the most important thing that Sparkledancer and I will have to do is to say hello to the competition organizers when we see them (not ‘if’ we see them, ‘when’ – we will have to seek them out to make sure it happens), tell them how much we loved this brand new event, and pass on greetings from Lord Dormamu so that they know that he is our coach. The dancing part of the competition is almost secondary.

Sure, there is always the hope that someone else will sign up to dance in the same rounds that we do, but unless the rounds fill up with eight to ten more couples, I’m not sure the priority level will change. Is that weird? It feels weird to me, but apparently playing this political dance and meeting with and supporting the right people in the right competitions is an important part of being an up-and-coming competitor. Sigh… I’m going to register my distaste for this part of the game here so that I can get it all out of my system before I have to go out and play these games. Is this is how Champions are really made?

Moving on… one of the competitions that was added to our list in October actually happens on the same date as a different event that I’m pretty sure I have to be around town to help out with. Do you remember me mentioning last week that I was talked into being a part of another dance non-profit? Well, during that meeting where I was brought into that group, they talked about throwing a fundraising event in the fall. The date that they wanted to book the fundraising event for is the same weekend as the competition Sparkledancer and I were told to do in October. I didn’t realize it at the time last Saturday when I was going over all of this with Lord Dormamu, but when I got home and started adding all these potential competitions to my calendar I saw the overlap. I’ll have to confirm with Lord Dormamu, but most likely that competition won’t actually happen.

With the schedule of what we are planning for more-or-less set, we next spent some time discussing the results of our last competition – not our placements, which were good and didn’t really warrant discussion, but how Sparkledancer and I felt we did, and what we thought didn’t go so well when we were out on the floor. I brought up the basic data analysis I did of the results, and showed Lord Dormamu and Sparkledancer how the math showed that Waltz was our weakest dance style based on how we’ve done during the last couple of competitions. While neither one of them seemed to care about the math too much, Sparkledancer agreed with my assessment, so Lord Dormamu agreed to look at our Waltz first that day when we finally got around to dancing.

I also showed him how there was one judge that marked us with significantly different placements than all the others in all of our events. This was something that Sparkledancer and I had experienced before – I even mentioned it here if you remember. This time around, when I mentioned the name of the judge who had done this to us, Lord Dormamu didn’t just chalk the placements up to the couples who were placed higher than us by this judge being students of his and leaving it at that. No, this time Lord Dormamu actually knew who the judge was quite well. In fact, there is a competition that Lord Dormamu is running in August, and he said he was flying this particular judge in to… well, judge.

I’m sure you can guess where I’m going with this. Now there is a plan that, while this judge is here, Lord Dormamu is going to set aside one of the coaching sessions that this judge will be running the next day so that Sparkledancer and I can work with him. This is another one of those Dance Politics moves, as explained to me. If Lord Dormamu arranges this coaching session and introduces us to this judge at the start of the session, then this judge will, from that day forth, associate our names and faces with Lord Dormamu. The judge (supposedly) will then think to himself ‘Hey! Lord Dormamu was cool enough to bring me in to work on this competition and pay me to judge, but he also entrusted some of his students into my hands to get my advice on how they can dance better!’ – which should change his opinion of how we dance if he ever sees us in a competition he is judging in the future.

This is one of those places where dancers who compete Pro/Am have an advantage. Sparkledancer and I have to put in the face time with judges if we want to be able to subconsciously improve their opinion of us when they see our names on the list of competitors. Lord Dormamu already knows a lot of these judges. He talks about being friends with lots of them. When he goes to competitions to dance with some of his Pro/Am ladies, the judges can clearly see that it is him, and they know the lady is his student. That automatically brings along the subconscious improvements of their perception of how the lady is dancing.

Unless Sparkledancer and I figure out how to start competing in some sort of weird three-way hold with Lord Dormamu, we can’t purely get by on his name – we have to build this kind of recognition for ourselves. Lord Dormamu told us that he can introduce us to all the right people, but we’ll still have to put in time with those people so that they will remember us after the initial introduction is over. The best way to do that is to take coaching lessons with the judges, unfortunately. It’s an expensive method of gaining recognition, but it is by far the best way to have one-on-one time with a judge where everyone can get to know one another.

Dance politics… what in the world have I gotten myself into?

We were lucky that Lord Dormamu had a bit of extra time between when he had scheduled his lesson with Sparkledancer and I and when his next lesson was scheduled, because after all of that discussion we still hadn’t done any dancing! True to his word earlier, he had us start off by showing him our Waltz so that he could see what changes we would need to make in order to bring it up to the next level. One lap around the floor was all that Lord Dormamu needed to see in order to make a plan about what he wanted us to work on.

The biggest problem that he told us he saw with our Waltz was that there was too much ‘floating’ on the floor while we danced. Yeah, that’s actually a problem that you can have in the Waltz. The dance style should give the illusion that you are floating as you move for anyone watching your upper body, but the lower body needs to tell a completely different story. That is what Sparkledancer and I need to improve the most in order to bring our Waltz up to the next level.

What I need to work on first and foremost is to show more connection to the floor. This is actually the easiest thing to change for me. Sparkledancer has to work on grabbing the floor with her feet and holding onto the connection, which is bound to make her feet sore after we’ve been practicing for a while. But me? I’m a couple hundred pounds of muscle who, for some unknown reason, walks very lightly. I just need to let the weight of my upper body hold my lower body down properly. This goes against all of my natural inclinations while I’m moving around, but I’m heavy enough that it makes a real difference with my connection to the floor. Sounds easy, right?

On top of that, Lord Dormamu said that we can always work on showing more drive from the standing leg, which is something you’ll probably never hear a judge tell you that you see too much of. For me specifically he also wants me to work on smoothing out my transition to the “second standing leg” as I move. I’m sure that you can figure out what that is if you’ve never heard of it before – if you are pushing yourself forward with your right leg, your left leg eventually has to hit the ground and start absorbing your weight. Along the way you will reach the point where 51% of your weight has transitioned to be over your left leg and only 49% is left over the right leg, and that’s when you’ve changed which leg is the standing leg in the same step. The new leg now needs to pull you forward for a bit before it can transition behind you and start pushing to create power.

Lord Dormamu said that sometimes he can tell when I make that transition between legs, because there is a bit of a wobble going on, which is why I need to work on smoothing the transition out to get rid of that. This is the same concept that I am working on in the Foxtrot, basically, though with different timing, different rise and fall, and less continuity of motion in the Waltz. This type of usage of the legs is a very advanced concept, and supposedly if I can master it early on while I am still competing in syllabus events it will make my life much easier as I move into the world of Open choreography.

What is the best way to practice this kind of change for our Waltz routine? Well, we were told to take things all the way back to basics – plain old box steps. Just Reverse and Natural Turns, no rotation, focusing on our legs and the floor. Until we are told otherwise, he wants us to start each of our practice sessions by doing the following exercises for two minutes each: standing side-by-side, Sparkledancer and I will do box steps by ourselves for two minutes starting with the left leg going forward, then two minutes that start with the left leg going backward. After that we will stand in front of each other and hold our arms wide (not real dance frame) and do two minutes that start with my left leg going forward, Sparkledancer’s right leg going back, and finish with two minutes of my left leg going backward, Sparkledancer’s right leg going forward.

But wait! There’s more! To help practice for smoother transitions between legs as we move, we do one last set of the exercises where we are standing in front of one another, but this time we extend each box to a six count. The first step forward/backward and the step to the side are normal, but dragging your feet closed while rising should cover four beats. We do two minutes in each direction of those as well. When all is said and done, that’s ~12 – 15 minutes of work, staying in roughly the same spot on the dance floor.

Doing those exercises makes practice all kinds of fun, let me tell you… <feel the sarcasm here>

Enough about that. I seem to have prattled on forever on just one thing that I went out and did last weekend! Oh boy, that does not bode well. Tell you what, I’ll only talk about one more thing, and leave it there for the week. Let’s… let’s talk about Latin Technique class, since that seems to be the class I seem to discuss the least lately.

This week in Latin Technique we looked at some Cha-Cha. There were three ladies in class this week that are relatively new to International Latin, so the figures that we covered in class weren’t all that difficult, but we never got to a point where all of the new ladies could do them well enough to do everything with music up to full tempo. I could do it though, but that’s probably mostly because I get to repeat the figures a lot more than any of the ladies as I rotate through class to dance with all of them.

What I danced with everyone was as follows: starting off facing your partner with your right leg back (ladies with their left leg forward), we did a prep step on beat one, then a normal Cha-Cha Checking action. The guys then did a Slip Chasse while the ladies did a Forward Lock, ending with leading the ladies through a Curl. Rather than do the normal ending for a Curl which sends the lady out to Fan Position, Lord Junior had us instead collect the lady back into dance position and go into a Reverse Top, just for fun.

We went around in the Reverse Top over the counts of two measures, and then the guys would turn the lady through another Curl and lead them to follow him through a Backward Lock into an Aida. After the Cuban Motions of the Aida, we came out of it with a Forward Lock, then went into side-by-side Switch Turns, coming back together at the end for a basic chasse action to the right.

Let’s call it good there for the week. This next weekend I have some work stuff to do, so I probably won’t go out much again. I have just one lesson scheduled, another with Lord Dormamu, but that’s about it. Hopefully we won’t get into another long conversation about our competitive plans this time around. Documenting all of that is a lot of work!

Until next time, keep on dancing!

Making My Entrance Again With My Usual Flair

For me, the dance parts of last weekend that are worth mentioning started with a party on Saturday night. As I mentioned, my Royal Dance Court group was hosting our monthly dance party that evening, and to start the night off we had asked the best Shag dancer that you’ll probably ever meet, Mr. Rubber-legs, to come by and teach a class to anyone interested. As usually happens when we advertise that we are going to have a Shag lesson, a lot of people were interested, so the dance floor was packed.

Before we get going, I invite you to take a moment with me to quietly get all of the ‘60s British spy jokes about Shag out of your system………… yeah, baby.

Moving on. Where was I… right. I’ve been to a few classes taught by Mr. Rubber-legs before when my Royal Dance Court gang has invited him to teach for us in the past. The class he does is interesting, but always starts off the same way. I know that he holds classes of his own for beginners and more advanced Shag dancers in another location during the week, so I think that he takes opportunities like the one my Royal Dance Court presented to him that night to introduce people to Shag and to his teaching style, let them watch how rubbery his legs get when he dances, and then invite them to come to his normal classes if they want to know more.

Most of the class involved Mr. Rubber-legs discussing the history of Shag and showing everyone how to do two figures, the basic footwork pattern and a lady’s Underarm Turn. For some reason, Mr. Rubber-legs wanted to teach the class with everyone lined up in a straight line down the middle of the room, which made for reeeeeeeally tight quarters for dancing as the class progressed. I saw one lady get elbowed in the face by the lady next to her at one point in the class, which gives you an idea of how tight the quarters were. There may have been other people bumping forcefully into each other that I didn’t see, and that wouldn’t surprise me.

Much like most dance parties that my Royal Dance Court gang puts together, we ended up with more women than men attending, so I had to jump into the class to try to help even out the ratio a little. It’s been a long time since I’ve danced Shag, so I had totally forgotten the positions of the feet in the basic pattern (it’s just different enough from East Coast Swing and West Coast Swing to require you to see it once or twice), but it was easy enough to pick back up once I saw Mr. Rubber-legs go through it again. The lady’s turn was pretty much the same as West Coast Swing, so I could do that one easily just by watching it once too.

Close to the end of the class time, once Mr. Rubber-legs was sure that everyone was able to do the two figures that he had started with correctly, he ramped up the speed and gave out information on a third, more complicated figure, and then a variation of that figure right at the end that he only showed people by doing it himself, because he didn’t have time to actually teach it to anyone. The third figure started off in Handshake Hold and involved bringing the lady into something like Sweetheart position, with the Lead’s right arm up over the lady’s right shoulder. You would start doing the footwork for a normal basic while in this position, and halfway through you roll the lady out in front of you. If you are really cool, you could have the lady do a double turn while you rolled her out, though some of the women I danced with said that spinning twice like that made them dizzy.

The variation involved the guy turning around after he rolled the lady out, so that she was now looking at his back. Mr. Rubber-legs called this a ‘Trail’ – you know, because the lady is trailing the guy. It wasn’t too hard of a position to turn into, and the footwork that he was doing was just the steps for the basic pattern as far as I could see, but I was on the far side of the room while he was demonstrating this variation to the class and like I said, he never explained it to us, so don’t quote me on the footwork if anyone asks when you try it for yourself. 😉

After class was over, the rest of the dance party was mostly uneventful. Mr. Rubber-legs stuck around for a little while to dance and talk with people, but left at some point before the night was half over. For the most part, I tried to stay behind the scenes taking care of things to make the party go smoothly, aside from going out a few times during the evening to dance some ballroom styles with Sparkledancer. Events like this are the closest thing to practicing floorcraft for a competition that we can do, so try to get out on the floor right after the song starts and dance one lap around before everyone else gets on the floor and things get crazy with all the social dancers doing different stuff.

(I mean different like the people who dance Argentine Tango during a Tango and don’t stay in the middle of the floor, or who were dancing Shag during a Foxtrot. They tend to make it dangerous to dance with my competitive partner and really move around the floor without having to stop all the time to avoid people)

There was one encounter in particular during this party that was pretty weird for me. I was in the back of the room, working on refilling the container of water for all the guests, when the DJ announced that an International Viennese Waltz was next. I didn’t think anything of it, since I was busy at the moment, and by the time I finished the song had already been going on for a bit and I didn’t want to find Sparkledancer and just jump in. Well, a lady that I had never seen before saw me standing on the side of the room and came over to ask if I wanted to try the Viennese Waltz with her.

Now Viennese Waltz, much like Quickstep, is not one of those dances that is a good idea for newcomers, and since I had never seen this lady before and she had asked me if I wanted to ‘try’ the Viennese Waltz with her, red flags went up in my mind. I had to ask her if she knew how to do International Viennese Waltz before I just took her out onto the floor with everyone else. She gave me a wishy-washy response and shrugged her shoulders, which did not make me feel any better about doing this.

I told her that this one was the faster version of Viennese Waltz and she wouldn’t get to open up and do fancy turns like they have in American Viennese Waltz. She seemed shocked by that, but still wouldn’t give me a straight answer as to whether she had even done Viennese Waltz before. Finally, when I saw that she was just going to be difficult and wasn’t going to leave me, I relented, even with all the voices in my head screaming that this was a bad idea. I waited for an opening on the floor and then took her out there, and prayed that things would be alright.

Lucky for me, the song only lasted about another ninety seconds, or about a loop and a half around the floor. When I walked her back to the side and then parted ways, she seemed happy enough, because she was all smiles. Sparkledancer caught me though as I was heading over to the other side of the room and told me that it looked like the woman was just running to keep up with me, because I was staying on time with the song and Sparkledancer said that my partner’s footsteps were not. That kind of made me feel bad. I didn’t feel my partner struggling to keep up, but she wasn’t that heavy of a woman, so was I really just inadvertently dragging her through everything? Sigh…

On Sunday afternoon I met up with Sparkledancer and Lady Tella again for work. Even though these sessions are mainly meant for the girls to work on girl things, I feel like I work really hard while I’m there, because I always end up all sweaty and gross by the time we finish up, while both girls still look nice. I wonder why that is? That’s just a random observation I had during this session.

Anyway… we started off looking at the Tango again. The notes that I have from the Tango are pretty much all things that Lady Tella was telling Sparkledancer. Let’s see, she mentioned that in general she wanted to see Sparkledancer work on getting her position even more to the left around me – almost to the point that she would be on my right hip. During the Back Corte, she wanted Sparkledancer to work on creating even more volume (though I think that is going to be a constant request until her hair is dragging on the floor). She also said that anytime that we are in Promenade Position or doing a Reverse Turn that Sparkledancer should be pulling her left elbow outward to help keep her shoulder down.

When we got to looking at the Natural Promenade Turn (Promenade Pivot), Lady Tella made a comment that I thought was funny. She was trying to explain to Sparkledancer how she wanted her to slow down the turn of her head between positions, so she brought up a carnival game for comparison. Have you ever been to a carnival and seen the game where they have the clown heads in the middle that are slowly rotating with their mouths open, and you have to throw a ball into the mouth as it goes by? That’s what Lady Tella wanted Sparkledancer to rotate her head like. This comparison may have resulted in a few attempts where Sparkledancer was keeping her mouth open while turning her head, but since my own head is looking away from her during the figure, I cannot completely confirm or deny this.

Finally in the Tango we looked at the Right-side Lunge in the corner again, so that Lady Tella could see how our practice with the figure was coming along. She just wanted to have Sparkledancer make a few minor adjustments to the position that she was in while holding the lunge – chest forward more, head back more, keep hips more level, and be sure not to tilt. Minor adjustments, am I right?

At the end of our session, just to break things up a bit, Lady Tella had us switch over to look at the Quickstep a little so that she could see how that has been coming along with our practice as well. Overall the Quickstep was fairly strong, and there weren’t a lot of spots that Lady Tella felt like she had to point out for either of us to be aware of. She did mention that she wanted us to be aware of the amount of volume between us any time that we were rotating (which we do a lot more in the Quickstep than we do in Tango). Not really a major issue, just something to be aware of.

For me specifically, she said that during some of the rotations she was seeing me do a slight head tilt when I started turning. It wasn’t something that I did all the time, but sometimes she could see it. That was a frustrating thing to try to go over, because the times she did see it when we repeated a turning figure over and over again, I couldn’t feel any movement in any of my upper body, but she saw it. Also, according to her the movement is very slight, but it is enough that she can see something happening. So yeah, that’s something that I have to look at somehow. Joy.

Latin Technique class this week was sadly hilarious for me. I’m not sure what in the world was going on. Either my legs were too tired to work right, or my brain wasn’t firing on all cylinders, but I was having trouble getting things right for most of the class. I would describe it as being… hilariously inept. Luckily I managed to pull it together by the end of class and get through without problems, but man it was rough getting there. Also I got made fun of a lot by Lord Junior, which made things so much better. I deserved it though. Everybody needs to have a bad dance day once in a while, right?

At the beginning we got to warm up a little by practicing different types of Latin dance turning movements on both legs. We started off by going through a basic Spot Turn, which is the normal type of turn you see in Rumba or Cha-Cha, and then we looked at a Switch Turn, which you can do in Rumba but most of the time you only see people doing in Cha-Cha. After that Lord Junior had us look at the turn that the ladies do in an Alemana. Guys don’t usually do a lot while ladies are going through an Alemana, so I got to try the lady’s footwork for this turn. I think I did pretty OK, if I do say so myself.

Lord Junior wanted to work with the class on Samba that night, so right from the get-go I knew this class wasn’t going to cover material that I liked. I don’t know why, but Samba just isn’t something I’m fond of. Lord Junior told us that recently he had been working with several of his competitive ladies on Solo Spot Voltas, and based on how that was going he wanted to give this class a chance to practice them as well. To begin this section, he gave us a basic combination of Volta movements to work on so that we could all make sure we got the Cuban Cross action correct.

We did four Voltas going straight to the side, four that continued in that direction but curved widely for half a circle, then four Spot Voltas that turned 180° each. By the time you finished, you were supposed to be on the other side of the dance floor (depending on how much you could travel) facing the opposite direction from where you started. Then we repeated all of those steps going the other way, to put us right back where we started. This part of class was easy enough, and I managed to get through all the figures just fine.

After that we paired off to do Solo Spot Voltas, and here is where things went downhill. To start, the Leader stood in front of his partner with our left hand flat against their right, and our feet in a Cuban Cross (left foot behind). We did four Solo Spot Voltas that also turned 180° each going to the left (Follow’s right) first. After the fourth, the Lead would bring up their right hand to stop their partner, then we would do another four going the other way. Sounds simple enough, right?

I think the thing that was throwing me off was the first action that you do. As you start turning for the first Spot Volta, your feet should just stay on the floor and you rotate. The next Volta action is where one foot has to move while the other stays planted on the floor as your pivot point. This worked great for the first four, but when you stop turning one way and change directions, if you forget to just leave your feet down and rotate, moving your legs throws everything off. All of us in class seemed to have trouble with this action at first, but it took me the longest to actually get it into my brain to do it correctly.

To finish out the class, Lord Junior gave us a simple progression to work on. He had us do the four and four Solo Spot Voltas in two directions, then two slow Voltas that traveled down the line of dance, and we finished with four Samba Locks. As we started this progression, I was still having trouble getting my feet to do the right actions with the Solo Spot Voltas, so I was flailing around a bit, which Lord Junior thought was funny.

Eventually he had us start doing the progression with music. I could do it correctly when the music was really slow, but when it sped up to like 85% my footwork just fell apart. Right before letting us go Lord Junior decided to amuse himself by having us do things to full speed. Suddenly, when the music was fast and I didn’t have time to think, I could do the footwork right every time. That made me feel kind of dumb, to be honest. I guess that I am just not a medium speed kind of person when it comes to Samba. Slow or fast only is what makes it work for me.

On Wednesday night I was back out at the Electric Dance Hall for Standard Technique class to look at some Waltz. Much like last week’s class on Tango, this week we also looked at a little bit of American Waltz and a little bit of International Waltz. Lord Junior is still working on studying for his certification tests for American Smooth, which is why he goes through these things with us. He admitted to all of us last night though that the studying is going slowly for him, because he cares so little for American Smooth it just doesn’t hold his interest. He did say that it is going better than his study of American Rhythm, which he cares for even less. Poor guy…

The first figure we looked at was from the American syllabus, called an Open Right Turn. It’s a misleading figure though, because it’s actually three different figures strung together and given an all new name. By the book the Open Right Turn is a Basic Twinkle into an Open Natural Turn, finishing with an Open Impetus and Feather Ending. Yeah, if you read that list it does sound a lot like Foxtrot, doesn’t it? Would you be surprised if I told you that you could also do this Open Right Turn in Foxtrot with a slight change in the timing and rise-and-fall? Because you can.

After we all seemed to have the figure down, Lord Junior changed it up to give us a second variation of the Open Right Turn. Pulling out the Open Impetus and Feather Ending, we replaced it with a Progressive Chasse to the Right while turning the lady to the outside, and finishing with a Développé. To close, the guys would step back onto their right leg and finish a normal box step while turning the ladies in front of us.

At the end of the Open Right Turn (whichever variation you so desire), we added on a couple more figures to keep the fun going. We did a Syncopated Fallaway next, which if you did the Open Right Turn variation and were still apart from your partner you would close back to dance position during. Following the Fallaway we did an Outside Spin from International Waltz, and to close we did a basic Natural Turn. The ending was a lot of fun, because you could get a lot of rotation going through the Outside Spin which would almost throw you through the Natural Turn. I thought that was the most exciting part.

That’s all the notes I have for this past week. As for this upcoming week, I think that most of it is going to be focused on practice. After all, the weekend after next I will be competing, so I have to make sure I’m ready. However… I heard of this class on West Coast Swing moves being offered this weekend, and I think I’m going to go to that. It’s been a long time since I’ve put any focus into West Coast Swing, and I do like that dance style a lot, so I’m going to mix things up a bit and try to pick up something new. That should be fun, right? Or at least different. We’ll see what happens!

Said My Name Is Called Disturbance

A lot of the people I know in my neck of the woods were off at some big Pro/Am competition last Saturday, so my weekend got a bit switched around. All of the dance-related things that I normally do on Saturdays had to be done on Sunday, so all of the dance-related things that I would have otherwise done on Sunday I did on Saturday instead. By the time I was heading off to bed on Sunday night, I had to remind myself a couple of times to set my alarm to get up for work the next morning, because I was feeling a bit mixed up trying to remember what day it was.

On Sunday I had planned to meet up with Sparkledancer and Lady Tella so that the girls could continue to work on improving how Sparkledancer looks while in dance position. Much of our practice time over the prior week had been devoted to working on the Waltz, so Sparkledancer asked Lady Tella if she could start off looking at that style with us. Near the end Sparkledancer and Lady Tella switched over to looking at the Tango for a little while, since that style has positioning for the lady that is so different from every other style. Most everything that was talked about during this session didn’t really impact me, but there was one particular note that Lady Tella gave to me that I have two minds about, so I’ve been trying to digest what to do with the information since Sunday.

Lady Tella told me that while my posture is good and I am obviously much bigger than most male ballroom dancers, my presence on the floor needs to change slightly. She used the words “arrogant” and “haughty” to describe the look that she wanted to see me going for. I guess that in her experience being around male dancers in the Professional circuit where she competes with her partner, the really good men all strut around like peacocks with too many feathers up their backsides… or like nobility that is looking down on the peons. I do not look like that normally, as you can hopefully imagine, so she wants me to try to incorporate that into my presence while I am dancing.

This bothers me a little. I guess on one hand I can understand why really high level dancers would want to pass themselves off in this way. For one thing, that is essentially the mental picture that most people have in the back of their minds of ballroom dances: the suave prince who is hosting a ball, and waltzing around the floor with a princess. In that scene, of course the guy is going to hold himself above all the others. He’s the frickin’ prince, so the peons (historically speaking, of course) are actually below him. For another thing, wandering around looking like this for most guys will make them look even stronger and more confident, like they are definitely the ones in control of the situation. During a competition, looking like you ‘own’ the place can be very advantageous.

Even though I can understand this in that sense, I have to say that it feels wrong to me to try to dance while in that mindset. I don’t like even pretending to be haughty or arrogant. Trying to be arrogant does not feel natural to me, and I can’t say that I particularly enjoy being in that sort of mindset, even if it’s just for a performance. That’s not how I was raised, and part of me thinks that my mother would smack me upside the head if she ever caught me looking like that. I much prefer to be charismatic, approachable, happy, and maybe even a little funny if I can pull it off while I’m dancing.

The bigger question that this raises for me is… why have high level male competitors over the years decided that this is the best way to portray themselves anyway?

When I think about going out and being a dance ambassador, trying to convince people to try out ballroom dancing for themselves, I can’t say that being arrogant or haughty would pass off as an enticing selling point to people who have never set foot in this world before. If anything, I think that me looking arrogant would actually dissuade people from wanting to come out and dance with me. So why in the world would I want to act that way during a competition? Since competitions seem to be the only part of this sport that is ever broadcast on television, do you think that someone tuning in and watching a bunch of haughty-looking men out on the dance floor would suddenly think to themselves ‘Huh, that definitely looks like something I want to try. Where do I sign up?’

Somewhere along the way the idea of ballroom dancing seems to have gotten twisted. Instead of being a social activity that we can all go out and do for either fun or sport (or both), it’s turned into this world where you have to look and act a certain way to fit in and do well: old men complain about people who show up at social dances wearing jeans; during competitions, it is entirely possible for a couple to be judged based on appearance rather than purely on skill; knowing the right people can help you advance further – and usually ‘knowing’ people involves spending money to take lessons from or go to events hosted by said people. All of this adds up to make the world of ballroom dancing appear to be a world where only those well-to-do enough hang out, and people of lesser means get scared away before their own adventures in dancing even get started.

So what is a poor boy like me to do? I mean, aside from singing for a rock ‘n’ roll band, of course. Do I take the advice of this young lady who I was working with on Sunday and pretend to be more haughty and arrogant when I am out on the dance floor competing, because that is what the recommended look is? Since I can’t really watch myself very well while I dance, and videos I take really only show me a limited amount once I move away from them, I can’t tell with my own eyes if the act I would be putting on really does make me look better while dancing. Or do I fight against that notion and be more like my normal persona? If I can prove to others that I can do well while appearing to be charismatic and approachable, perhaps I can use that as a selling point to others who have never danced before and say ‘hey, if I can do this, you could totally do it too!’

I don’t have an answer at the moment. I think I’m going to have to noodle on this a bit more before I can figure out what the best answer for me actually is.

*    *    *

Well… that went off on a bit of a tangent, didn’t it?

In Latin Technique class this week we looked at some Cha-Cha. Lord Junior had been having a conversation with one of his more advanced students before class started about a particular concept in Cha-Cha, and being the nice guy that he is, he wanted to talk about the concept with the whole class once we got started. This was mostly something that would be useful to ladies, but Lord Junior said there were some specific places that men could use this trick as well, depending on the choreography that was being used.

The idea was this: in Cha-Cha, what you see high-level dancers doing nowadays is replacing spots where they would normally do a Turning Walk action with a Straight Leg Pivot. He demonstrated this using a fairly simple figure that most ladies have done before, which was the Hockey Stick. During a normal Hockey Stick, on step seven the ladies will do a Turning Forward Walk that rotates ⅜ of a turn to the right. Now picture this: on step seven when you step forward onto your straight right leg, you leave the left leg behind you and pivot for ⅜ of a turn on the right foot. When you finish the pivot, the left leg is already in the right position for your next step backward onto it with no additional leg action needed, speeding up the entire movement by a fraction.

What makes this simple-sounding concept more advanced than the Turning Walk action is that you have to do it well, so that it actually looks like you are doing a Straight Leg Pivot on purpose. If you don’t keep your leg lines crisp and the pivot precise, you run the risk of it looking like you just messed up while doing a Turning Walk and are just trying to fake something until you can get back into the correct choreography. If you want to do this substitution during a competition, make sure that you practice enough so that the change looks clean, otherwise a judge could fault you for it. Oh yeah, and avoid making this change until you hit Open-level choreography. If you try this in Syllabus rounds, you can get faulted for it, since the official syllabus figures are still written as Turning Walk actions.

To practice this action, we were given a short progression during class to work with that incorporated the example used in demonstration. We started right off with the ladies already out in Fan Position, closing them into a Hockey Stick while the guys did a Slip Chasse. After we finished the Forward Lock in the Hockey Stick, Lord Junior had us do something a bit silly to let the ladies also  work on their hip actions that night. The guys would step forward and point their opposite leg to the side for three steps while the ladies were doing Batucadas, an action you normally see in Samba. At the end of the three pointing steps, we did two quick steps forward to end up on our right leg (ladies on their left).

From here we did a normal checking action into a basic Backward Lock Step. To finish everything off, Lord Junior had the guys just transfer their weight onto their right leg to get close to the lady, which stopped her from moving any farther forward. She would then raise her right leg up while balancing on her left leg, putting her into a line that looked kind of like a flamingo to me. The guys then lunged out to our left side while twisting to give the lady more of our left arm, which would help her rotate her body a bit further while she was still up on one leg, before we led her across our body at the last moment for a three-step turning motion that put her back out into Fan Position. The guys could either do a small chasse to the right here, or if the lady didn’t travel all that far we could just step to the right and hold to make our own movement smaller.

Standard Technique class this week was a lot of fun. This was the first week in a really, really long time that there was no one else in the studio except for those of us who were there for Standard Technique class. I don’t mention it much (not really at all), and I don’t show it in pictures very often, but the Electric Dance Hall usually has tons of activity going on. I would make the argument that it’s the busiest dance studio within an hour drive of my house – and there are quite a few dance studios to choose from in that radius, so that’s really saying something. To have the whole floor free for a single group class was pretty awesome.

To capitalize on our good fortune, Lord Junior had us work on some Quickstep, and gave us what almost amounted to a full competition routine. Some of us were able to use the progression to easily cover three-quarters of the loop around the floor. He would have given us more, but we ran out of time just trying to practice what we had at the end of our time that night enough so that all the ladies could get through it well. I specifically say ladies here because there were five women in class, but only Lord Junior and I to dance with them, so he and I got to practice the figures quite a bit more than all of the ladies that night.

We started off in the corner of the long wall, facing diagonal center. After a prep step we went into two Forward Lock Steps that were in Pepperpot timing (for those of you who don’t know, “Pepperpot timing” is five steps done at a count of ‘quick-and-quick, quick, quick’). Depending on who you are dancing with, these two Forward Lock Steps can cover a significant amount of ground, so you may need to adjust your angle slightly to avoid crossing into traffic on the other side of the dance floor. Lucky for me that the dance floor was completely empty during class, right? After the two Forward Lock Steps, we went into a Quick Open Reverse followed immediately by a Four Quick Run, finishing with a basic Natural Turn. That chain of figures was enough to put us into the far corner on the first long wall.

To turn the corner we did a Running Natural Spin Turn and used that to go into a Backward Lock Step. How much the Running Spin Turn was actually turned really depended on how far down the floor you and your partner managed to get as you traveled down the long wall. If you ended up with some space between you and the wall, the Running Spin Turn should end with you backing diagonal wall on the short wall, and the Backward Lock Step will then follow that path. If you and your partner end the long wall right against the short wall, you have to underturn the Running Spin Turn and end backing line of dance, then take the Backward Lock Step that direction to avoid crashing into the wall.

Most of us were able to easily cover the entire length of the short wall with those two figures, so at the end of the Backward Lock Step we used a Running Finish and another Natural Turn to turn the second corner. At this point we did an Overturned Open Telemark, which I think was the hardest figure we did all night, since a Heel Turn is not something you can easily do in Quickstep at tempo. Coming out of the Overturned Open Telemark put us in Promenade Position facing line of dance. Here we did a step and hop action over the next two beats of music followed by a Promenade Chasse that was in Pepperpot timing, and then we repeated that amalgamation one more time. We ended the progression by just taking a few steps that ‘ran’ forward, using those to bleed off any momentum that we had left.

Have I mentioned that I’m doing another competition in a few weeks? I’m pretty sure it’s scheduled over the last weekend of this month, but I don’t have my calendar in front of me to confirm that for sure. I know I’ll be there for sure whatever date it actually is, since I already paid my entry fee and signed up for the rounds I wanted. Is it terrible that I can’t remember the exact date right now, and I really can’t bring myself to either get up and go look at my calendar, or open another tab in my browser to look up the information online? I am so lazy sometimes…

But that’s what all my practice work has been preparing for lately. Here’s hoping that the field of competitors at this event is pretty large and that I haven’t danced against most of them before in previous competitions. I feel like I would get a better read on how well I’m doing if I can face off against more people, rather than the same people over and over again.

We’ll start the countdown and see what happens soon!