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!

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Well I’ve Got One Foot On The Platform

Last Friday night I was back in pre-competition preparation mode, and I met up with Lord Dormamu for one last run-through of everything before the weekend’s event. There were only a few things that Lord Dormamu pointed out that he wanted to see changed that night, because he knew that we would have very little time to practice before actually taking the floor in front of the judges. Mostly these points were items to file away and begin work on once we get back from the competition, to help improve our dancing going forward.

The big overall note that Lord Dormamu wanted us to work on changing was the connection point that we had while in frame. He wanted to see Sparkledancer up higher, and pulled around my right hip a bit more. The changes that Sparkledancer had been making with Lady Tella were obvious to him, and he was quite pleased with the difference it was making in the amount of volume that we showed while moving, but he personally preferred the connection point to be in a different spot than what Lady Tella had been recommending. Next time that Sparkledancer gets together with Lady Tella to look at her positioning, we’ll go over the changes requested with her to see what her take on the matter is.

I also discussed with him the note that Lady Tella had given to me about trying to look more ‘haughty’ and ‘arrogant’ while I’m in frame. He thought about that for a few minutes, then told me that he understands what Lady Tella is trying to get at, but he doesn’t want me to worry about trying to convey one of those emotions through my frame and posture. Instead, he wants me to hold myself as tall as possible, but not do any weird tilting of my head, just look normal. That was quite the relief to hear, let me tell you. Have I mentioned that I don’t know how to be haughty? 🙂

After that, we ran through everything in the order that we would be doing the routines during the competition, got a few notes back on things to look at, and then ran through the dance style again before moving on to the next. Starting with the Waltz, the big item that he pointed out was the Hesitation Change. He liked the way that Lady Tella had moved Sparkledancer and gotten her to grow the volume over the course of the hesitation, but he wanted to see us put a lot of sway into the figure. A lot. When he was moving me into the position he wanted to see, I felt like my left elbow was almost going to touch my left thigh!

Aside from the Hesitation Change, he also told us that he wanted to see us slightly extend out closes at the height of all our Natural Turns to really emphasize that “perfect, beautiful moment” there. In the Double Reverse Spin he wanted to see Sparkledancer create a diagonal line from her foot to her elbow on the second step, and also have us be sure to step out of the Double Reverse Spin straight down the line of dance. Some of these notes would be easy to remember for the competition, but there was really no way to repeat them enough to make them muscle memory, so I am writing them down to work on in practice later.

Quickstep was next, and that style didn’t have much in the way of notes. As I’ve mentioned several times, our routine is pretty simple, so there isn’t a whole lot of fancy technical points we could do to make it look any different. We were told to continue working with Lady Tella so that Sparkledancer can increase the volume during the dance style even more, and hold it more consistently, but that was about it.

Our Tango had only one point, but it was kind of a big item, at least in my opinion. Somewhere along the way, with a couple of different instructors emphasizing the staccato nature of the dance and how I should always wait until the last possible moment to bring my feet together, I have taken to closing my legs with a lot of power before moving on to the next figure. Lord Dormamu told me that what he actually wanted to see was still for my feet to close together at the last moment, but they would do that because the closing action should have very little energy, moving much more slowly than I was doing. So no more ‘slamming’ my feet together – now it’s nice and gentle, while the steps before and after are sharp and fierce.

We finished our runthrough with Foxtrot, and this one, like Quickstep, didn’t have much going on that Lord Dormamu wasn’t happy with. His told us that the Foxtrot was the most obviously changed dance he can see from how things looked when we started working with him a year-and-a-half ago. That makes sense, since he told us long ago that International Foxtrot is the hardest of the Standard styles, which is why we’ve spent the most time working on this style with him early on in our competitive career. I believe the way that he phrased it during this lesson was that our Foxtrot was looking well beyond Gold level, so now we can work on making sure all our other dances are like that. If the hardest dance style is already looking that good, the rest should be easier, right?

Let’s talk about competition weekend. All of my rounds that I had signed up to actually compete in were on Sunday morning, but I was also out at the competition venue on Saturday as well. My primary reason for going there was to see if I could test out the floor a little before having to dance on it in front of the judges. Different floors have a different feel to them, which sometimes makes my shoes respond differently, so I wanted to know what I would be dealing with. Around lunch the organizers had scheduled a break so that the hard-working judges could get a little food, which was a perfect opportunity to meet with Sparkledancer in the actual competition hall to try dancing a bit.

Some of the other competitors who were there practicing talked with Sparkledancer and I and told us the same thing that I was feeling – that the floor was unusually sticky for some reason. This was one of those snap-together dance floors that you sometimes see, where they click together a bunch of wooden squares to make a floor of any size desired. Usually what I worry about when I see floors like that is getting a heel caught by one of the seams, but every seam that I tested in numerous parts of the floor was smooth and flat, so lucky for me that was something I didn’t have to contend with this time around.

Sliding my feet along the floor was a worry though. A fellow competitor that I talked to described the floor as being “one of the slowest floors” they had ever danced on, and I like that description. I could get my feet to move, but it took a lot of force to cover the same distance that I am used to covering in practice. Rotational figures were also tricky. When Sparkledancer and I tried dancing together in practice hold to test things, I started off with the Waltz, and on my first Natural Turn my left foot stuck to the floor on the second step so the figure was pulled short, and my right foot closed to my left a lot faster than I wanted because all of my momentum seemed to transfer to my right leg when my left stopped moving. Yikes! It was really good idea to head out there a day early to figure out how to work on this floor. If I hadn’t done that, I think things would have gone terribly on the day of my actual rounds.

I said that this was my primary reason for going out to the venue both days this weekend, but it wasn’t my only reason. The competition organizers had also invited a well-known West Coast Swing competitor and judge to come in and teach a class that was free for all registered competitors of the competition, and I wanted to go to that as well. What? Two back-to-back weekends with fancy West Coast Swing classes? Unpossible! But it’s true, it totally happened.

The instructor for this class spent some time showing everyone a progression of figures, and talking about his ideas on how to make the dance more interesting. The way he liked to do it, as he explained to all of us, was to always think of figures to use in West Coast Swing as multiples of two. Almost all the figures you will ever see start with the same action on beats one and two, and finish with the same action that covers the last two beats. If you keep the beginning and ending of your figures constant, you should be able to dance with most partners and be successful.

But in the middle of those two pieces, almost anything is possible, as long as you always use a number of beats that is a multiple of two. Do you want a slow and dramatic turn for the lady? You can change it from a two-beat turn to a four-beat, or an eight-beat, or a thirty-two beat turn if you want (though the lady might get bored if the turn is that slow…). That was how he thought of dancing West Coast Swing musically. It’s a different take on things from the idea I got about musicality in the last West Coast Swing class I went to, but it is still an interesting and valid point, so I thought I would mention it.

The amalgamation of figures he used to show the class these ideas was built around a basic idea, where each figure uses what most people would call its “normal” timing, and we were also shown some variations that could be thrown in if you wanted to extend the figures by two-beat increments. I’ll just list the basic figures, since there were so many variations demonstrated by the instructor for many of the figures that I could go on for pages and pages just trying to describe them all.

This pattern started off with a basic Sugar Push just to get moving. From there the man would lead the lady to do a Left-side Pass, with or without a turn thrown in depending on how advanced you were. The tricky part was that at the end the men would also turn themselves through a Waist Roll, changing hands in the process to be in Handshake Hold for the Anchor Step and beyond. The Waist Roll that the guy does needs to add in at least two more beats to the figure, so at a minimum the whole thing becomes an eight count, but you could hotdog it if you wanted and make it longer.

From there we did what the instructor called a “Surprise” Tuck Turn, which was really just a basic Tuck Turn while in Handshake Hold where the partners don’t change places in the slot. As the lady finishes her spin from that turn, the guy needs to catch her right hand with his left underneath your other arm so that now you are in a Crossed-hand Hold. In this hand position the instructor had us do what he referred to as the Hustle basic without the butterfly-arm action – basically the partners changing places in the slot with no lady’s turn for the first three beats. We repeated this Hustle basic action for the second three beats of the figure, but this time we turned the lady to unwind our arms as she moved down the slot to our former location.

The men actually didn’t change places with the women as we unwound them here, we just stepped out of the slot to the left and stayed there while we turned the women. That put the ladies into a position perpendicular to us on our right side. Now we could take the next two beats (or four, or more – however many you wanted to use, as long as it was divisible by two) to let go of their hand with our left hand and slide our right hand down to pick up their left. This would allow us to use the arm to lead the lady through a Free Spin across the slot while we moved to get back into normal dance position with her for the Anchor Step of the figure, which is where the instructor ended the pattern for the day.

On Sunday I was back at the Dance Death Arena early in the morning. My rounds weren’t the first scheduled that day, but I was in the fifth or sixth one, so I was on the floor pretty early, which is never fun. I got up at the buttcrack of dawn that morning so that I could eat some food, get ready to compete, drive out to the venue, and still have some time to stretch out and warm up with Sparkledancer before the day’s events began. That was probably the least fun thing about the day.

Overall, my rounds felt good. The results I got once the judges’ scores came back were pretty good too. I didn’t manage to sweep the results and get first place from every judge in every dance I did, so obviously I still need to work on improving my dancing and my prowess in dance politics, but that’s not necessarily a bad thing. With the numbers that I got back I can analyze the data, along with the data from my previous competitions, and refine my practice focus and my work with my instructors to get closer to that goal.

If you’re interested in the brief version of the analysis of the results I got for this competition compared to the scores that I got at the last competition, I can tell you that I definitely show a specific area that I need to improve in – the Waltz. That is definitely the style that the scores show the most weakness in when compared to the other International Standard styles. Foxtrot is still definitely my strongest, without question. That is completely understandable though, since that is the style that Lord Dormamu has worked on the most with Sparkledancer and I, as I mentioned earlier.

The other two styles that we did in the last couple of competitions are kind of a toss-up. Tango has definitely been improving, so it has been very strong recently. Prior to that, when we didn’t work on it at all, it was obviously much worse. Quickstep just… is. We do fairly well in the Quickstep, based on the aggregate scores that I see over the last few competitions that I have pulled up here in front of me. That is good, considering that we don’t put as much time into working on the style with any of our instructors as we have with any of the other dance styles, but that also means that there is likely room for improvement in there somewhere.  The scores across the board haven’t gotten better or worse over the last few competitions. Like I said, it just is what it is. I should probably spend some more time working on Quickstep and getting some feedback on improvements I can make if I want to see any change in these scores next time I compete.

Moving on… I also want to mention briefly that I skipped Monday night’s Latin Technique class this past week to go to a different dance-related meeting. I maaaaaaaaaaaaaay have gotten myself roped into helping out with another dance nonprofit endeavor. This one is very different from the Royal Dance Court group that I am also a part of, since this dance nonprofit has a focus on helping out children, but the two definitely have similarities, which is why I think that I was asked if I would help out.

In reality, I was probably asked to help because I know a bunch of the people who are helping to run this nonprofit. Lord Dormamu works with this group, as does another dance instructor friend of mine, Indiana. You may remember her as being a part of the Royal Dance Court in the past, but then having to leave because other dance commitments took up her time? Well, this was one of those other dance commitments. Also Sparkledancer is a part of this group. And now I guess I am too, since they officially voted me in at the meeting on Monday night. Hooray for me?

What does this mean for me? I’m not sure. So far, in the meeting that I was in this past week, I just threw out some ideas I thought would be useful for the projects that they are already working on. There is a new project that Lord Dormamu wants to start for this group that he said that I am going to help him with. Because it sort-of directly relates to my non-dance career, I am considered the ‘expert’ for this project. He and I are going to have a dinner meeting next week to draw up an outline of what he is thinking for this new project, and then I can take a look at his ideas and figure out if it is even going to be feasible. That could be fun, right?

Man, I just get pulled into helping with all kinds of dance things. At the rate I’m going, I’m going to end up with my fingers in so many different aspects of the Dance Kingdom that my real name is going to be well known in the dance community soon. That’s actually kind of a scary thought. I prefer to help out and work on things in the background, and let other people take the fame. Am I going to be able to keep that up if I’m going to get really involved with every new club/group/nonprofit/council/board/gang that comes to ask for my help? Will I long for the days of anonymity in the future? We’ll have to see…

This weekend will be focused on reviewing our results from the competition and putting together a plan for going forward toward the next competition on my calendar, which I think is going to be in August. I have a lesson scheduled with Lord Dormamu, and then Sparkledancer asked me to meet up with her and Lady Tella so that they can continue working on improving her positioning and volume. I don’t know if I’m going to make it out to any other dance events this weekend though. I have some work that really needs to be done on my house, which I wasn’t able to do last weekend because I was competing, so I was hoping to make that a priority for this coming weekend. But it’s always possible that I’ll be talked into going out dancing somewhere. Apparently I’m easy to talk into doing dance-related things…

5-4-3-2 What Are You Waiting For?

Last Saturday I did several dance-related things, with one being more thought-provoking than the others. I’ll probably spend a lot of time talking about that, as I sit here staring at this blank page and mull over what I will end up writing. Hopefully you can handle that. If not, well… I’m probably going to write about it anyway, because I find it fascinating. So nyeah. Take that.

Before that though, the first thing that I did on Saturday was to meet up with Sparkledancer and Lady Tella. The two of them had agreed to get together for a short session on Saturday to look at things, and then another short session on Thursday night for a final review of how practice has been going before Sparkledancer and I run off to the Dance Death Arena to compete next weekend. I also have a final pre-competition review with Lord Dormamu scheduled for Friday night, and then I leave on early Saturday morning to make the drive out to the venue. So many things to do!

Anyway, back to last Saturday… we started off with running through all of our competition routines in full once so that Lady Tella could see everything and pick out what we needed to go back and touch on. The dance floor was busy before our lesson started because there was some kind of children’s ballroom class going on that took up the whole floor, so aside from the stretching out I was able to do on the sidelines I walked onto the floor and performed our routines cold that morning.

Because of that, when Lady Tella came over to talk to us about what she saw, she said that overall our Waltz (which was the first one that we did) looked the weakest, while our Tango looked the strongest. That made sense to me. Tango is what Sparkledancer and I had been spending a lot of our practice time going over during the week prior to this lesson, so I can imagine that it would look more ‘practiced’ than the others.

We talked about specific notes for Waltz, Quickstep and Foxtrot during this lesson, and left out the Tango because of that. Overall for me, the only real note was to continue to try to lean back slightly to avoid looking like I am toppling over my partner at any point. I had been working during practice on pulling my upper body back slightly, especially in rotational figures, based on the note that I got from Lady Tella last time I saw her about how it looked like I was coming forward slightly in rotations. She said that it helped make me look like I was even more upright, even though my lower back muscles feel like I am leaning backward. I guess I can count this as a good thing, and work on keeping it up.

Lady Tella’s notes for Sparkledancer were a bit more in-depth, so I tried to jot down what I could. The overall takeaway was for her to continue focusing on creating more volume while the two of us are moving, which you probably guessed. For the specific dances, we started with Waltz. Lady Tella wanted Sparkledancer to think about keeping her sides long the whole time, and to lean back slightly (like I am doing), especially during rotational figures. She told us to watch our transitions to Promenade Position and to make sure that we are not dipping down on my left/Sparkledancer’s right side. Also, she told Sparkledancer to make sure that her head openings were slower, and to make sure that she takes the long way while doing it… whatever that means.

By the time we finished working through the Waltz, Lady Tella told us that it was looking much better than it had when we danced through it the first time. We promised her that on competition day we wouldn’t be taking to the floor cold, so if the issues we had were caused by that, it would be an easy fix. That just means I have to get up even earlier on competition day… no big deal, right? Who needs to sleep?

Quickstep was brief for us, since there isn’t much to it. There was a question that we had that had for Lady Tella that had come up recently in our practice about the Running Finish at the end of the first short wall. Lady Tella had told Sparkledancer to open her head at a certain point, but I was actually creating the sway in the figure at a later time, so it looked like the head opening was disconnected from the sway. When we showed it to Lady Tella, she agreed, and refined what she had told Sparkledancer so that she was now waiting until I create the sway in the figure to make the head opening action match.

We had some issues going through the Foxtrot because the staff at the Endless Dance Hall were starting to set up for an event, and they were dragging tables out onto the floor that I suddenly had to work around. It was hard to find a line of floor that was long enough to get through all the figures we wanted to look at contiguously! I wonder if they did that on purpose to try to get us to leave? We were the only dancers in the building when they started doing this…

Lady Tella wanted to have us run a portion of the routine at the beginning, so I changed the angles of several of the figures slightly to avoid running into any tables. THe way I had done that though made Lady Tella think we had a problem with our Reverse Turn with Feather Finish. However, when I managed to find a section of floor big enough to run through the figure with the right angles (which required taking smaller steps as well), the problem went away. Assuming that there won’t be a bunch of tables in the middle of the floor at the venue during the competition, we should be alright. Other than that, she wanted to make sure Sparkledancer was leaning back and keeping the volume while we were dancing the routine.

Later in the afternoon, I ended up at the fancy West Coast Swing gathering, just like I mentioned last week. A local West Coast Swing club had advertised that they were bringing in some high-level West Coast Swing coach to teach this weekend, and during the afternoon he was going to be giving four group lectures on top of private lessons. I wasn’t able to get there for all of the workshops that they were offering that day unfortunately, but I was lucky enough to make it to two of them.

Originally I had only thought about going to one of the two that afternoon – the one that promised to show me some new, fancy figures that I didn’t know. It’s been a while since I’d learned any new West Coast Swing figures, so I thought that could be fun. But later in the week I read through the description of the second class, and it peaked my interest enough that I decided to stick around for it on Saturday. Boy am I glad that I did, because the lecture that the guy gave during the class was fascinating to me, and gave me a lot to think about for the future of my own competitive dancing.

Let me write out the figures that I learned in the fancy moves class first before I start writing about the other class though, because it is likely I will go off on a tangent talking about that material, and I want to make sure to document these figures so that I won’t forget them…

We started off in closed position, which looks like the basic hold for East Coast Swing. The instructor wanted to show everyone a six-count starter step. Most people who have done West Coast Swing normally only do a four-count version – a triple step to one side, then to the other, then go into like a Sugar Push or something. The instructor had us add on two steps before the two triple steps, making it into a six count.
I know that sounds easy, but we had one gentleman in class who could not for the life of him get this down. He struggled through just the starter step with several partners, unable to overcome his many years of muscle memory that had only done a four-count starter, and then he gave up and sat out in a chair along the side for the rest of class. Talk about a rough start!

For the amalgamation we were given, we did the six-count starter and then went into a Spinning Side Pass. A Spinning Side Pass is just a Left-side Pass with a lady’s Underarm Turn thrown in. Not too tough yet, right? After that we did a more complex variation that began like a normal Whip, but at the end of the first six beats the men over rotated to put the lady into Outside Partner on our left side. On beat seven the guy would step across the lady with his right leg and on beat eight he pivots 90° to the right without changing feet to end up back in closed position just like at the beginning.

From there we went into a Sugar Push. Since the guy is perpendicular to the lady, his first step is to his left side and then he rotates before taking his next step backward, which puts him back into the normal position you’d expect for a Sugar Push. Next we did a slow and fancy Underarm Turn that had sort of a ‘peek-a-boo’ moment in the middle. This figure extends the normal Underarm Turn to an eight-count and doesn’t have the partners changing places. The guy starts with two steps back like normal, then the triple step. As you step forward on your left leg, you hold in place while bringing your left arm slowly over the lady’s head. In the middle of the rotation, her body should be bent to the side slightly with her right hip out and she should be able to face you. On beat six you finally rotate her back in front of you, and you both do your Anchor on seven and eight.

Almost done, just two more figures to go (maybe three, depending on how you look at it)! We started another Sugar Push basic, but this time we ended with something that the instructor called a ‘Rock and Go’ ending. Basically, instead of doing the Anchor portion of the Sugar Push, the guys will do a rock step and tie the next figure into the first. In our pattern, that figure was another Spinning Side Pass. The rock step became both the last two beats of the Sugar Push and the first two beats of the Spinning Side Pass at the same time. When all is said and done, these two six-count figures share two beats, so you end up with what looks like a single ten-count figure.

To wrap things up, we finished with a Same Side Whip. The figure starts out like a basic Whip, but instead of taking a step around the lady on beats three and four, the guys just step off to the left and do our triple step while she comes forward and rotates, but then we send her back the way she came from while stepping back to our starting position before the Anchor. In the process of sending the lady back, you have the option to just let her walk and rotate, or you could give her a Underarm Turn or a Tuck Turn to do, just in case you want to make things challenging for her.

OK, maybe that note about the pattern wasn’t as short as I would have hoped. I apologize.

Let’s talk about the other class now. The description of the class that intrigued me talked about learning how to dance properly with the music. I thought it sounded like a fun thing to do that was worth some of the money from my wallet, which is why I decided to attend, but what the class ended up talking about has gotten me to thinking, as I mentioned. Anyway, to set things up, during the first section of the class we were given a bit of choreography to work with – a basic pattern, and then some variations to those figures to try to throw in while we were dancing.

The basic pattern went like this: a Sugar Push, then a Left-side Tuck Turn, then a lady’s Underarm Pass, then a double-spin for the ladies of some kind (the Lead could choose to do two inside or outside turns), and finally a Whip to finish off. Pretty basic, right? We were then shown specific accents to do during each of the figures, and they were as follows:

  • Sugar Push: replace the first step with a kick-ball change
  • Left-side Tuck Turn: syncopate the timing on the first triple step while the man is out of the slot
  • Underarm Pass: both partners do a side break to the man’s right on beat five before the Anchor
  • Double spin: no changes
  • Whip: replace the first step with a kick-ball change

Again, pretty easy variations to remember, right? You could use these whenever you are dancing a West Coast Swing if you do one of these figures, and people might think that you are cool. But there is a reason that they are in there. Did you try dancing the pattern? Did you feel the reasoning? I admit that I did not see it until it was pointed out to me in the last section of the class, so if you didn’t feel it either, I’m right there with you.

The basic pattern itself is built the way it is built for a specific reason. There are four six-count figures followed by one eight-count figure. Thirty-two beats of music total, or four eight-beat measures. In most songs that you would dance West Coast Swing to, that is one musical phrase. Are you starting to see it now? If you don’t, look at the timing where each of the variations we were given were thrown in: the first beat of the Sugar Push, the third beat of the Left-side Tuck Turn, the fifth beat of the Underarm Pass, nowhere in the double spin, and the first beat of the Whip.

Musically, those line up with beat one of each of the eight beat measures in the phrase. Essentially, you are dancing and putting the more complicated variations in while you are dancing to show that you can hear each bar of the music. The double-spin, being the most complicated turn for the ladies, is specifically slotted into the pattern during a period in the phrase where there is no beat one – it starts on beat three of its eight beat measure, and finishes on beat eight. That is why it is the only figure to have no variation.

Once this was explained to all of us, we were told to go back and try dancing the pattern again, but this time to try counting along with the music in counts of eight. This threw off a lot of people, because many of us have been taught by our instructors over the years to count out the parts of the figure, not count with the music. This isn’t a bad thing when the figures line up with the measures in the music (like basic Natural and Reverse Turns in Waltz), but with a dance like West Coast Swing where we are doing six beat figures to music that is not built on six beat measures, you tend to lose something.

I had a different problem, which the instructor also mentioned to others in class. He said that some people tend to count the music they are dancing to more like how the measures are written rather than how it sounds. You may have spent time around a conductor if you were in a band or choir class in your youth, and have heard them count the music as “1,2,3,4; 2,2,3,4; 3,2,3,4” etc. That is basically how I hear music if I’m not counting it out loud. I had a lot of musical training in my youth, so that’s what I’m used to doing internally.

This presents a problem though, because it essentially gives you a beat one every count of four, rather than in counts of eight. Think about the average song that you would dance a West Coast Swing to. I like to think of slow rock songs for West Coast Swing – that’s just what I feel is the most appropriate music for the dance style. If you think about the vocalist singing above the music, generally you can hear that the first four beats are strong, while the second four are slightly softer, so the song feels like it is built in counts of eight. Examples off the top of my head from songs most of you probably know…

Give me one reason to stay here / and I’ll turn right back around.”

Black velvet / and that little boy smile.”

She could tell right away / that I was bad to the bone.”

If you can’t hear the song in your head after reading those lyrics, you can use them to look up the song and listen to it online. <Brief pause so you can listen> See what I mean? So based on that, emphasizing the first beat out of eight strongly is something you want to consider to really make it look like you are dancing with the music, not just dancing a memorized pattern. If your pattern repeats (as most patterns dancers learn do), but the pattern is not built to repeat on musical phrase (or floorcraft requirements took you off pattern briefly) and you start over at a point that is in the middle of one of those eight-beat measures, it is entirely possible that your variations will have to be on different points of the figures the second time through.

That, this instructor said, is what musicality means. And that’s the point that got me thinking. I’ve had brief discussions with several instructors that I’ve worked with about musicality in the past, but when they talk about dancing musically, they usually give examples of changing the timing of the steps in your figures. The example that comes up most is in the Waltz, where they want you to hold the step on beat two of three slightly longer than the other two beats to give it more emphasis. If you’ve done competitions in Waltz before, you may have been told this as well.

This particular example from class shown through West Coast Swing immediately brings to mind Foxtrot, for me at least. The music that is chosen for Foxtrot, while having different qualities than what I think of as a ‘West Coast Swing song’ is built the same structurally. When I am practicing Foxtrot without music playing, normally I count it in four. But is that right, or should I start thinking about them more in eight-count increments? Will I have to add in different emphasis in parts of certain figures to show that I know where the first beat of each measure is in relation to what I am doing? How would I even begin to do something like that? International Foxtrot doesn’t usually have ‘flair’ in it, you know…

The opening of my Bronze Foxtrot routine was built as follows: a simple starter step that is a count of eight, a Feather that is a count of four, a Reverse Turn with Feather Finish that is a count of eight, a Three Step that is a count of four, and a Natural Weave that is a count of eight. That is the first four eight-beat measures, much like the instructor in the West Coast Swing class put together. If you walk through the counts, you’ll see that not all of the figures start on beat one. The starter step obviously does, as does the Feather, but the Reverse Turn does not. The Feather Finish of the Reverse Turn does, however. So, do you really want to do something to show emphasis on beat one of each measure if it the emphasis subdivides a figure like that?
Another possibility: In contrast to thinking about the Foxtrot being built in eight-beat measures, I could see it to be better to think about dancing the Foxtrot by phrase instead. That would definitely provide the continuity between the figures that International Foxtrot is known for, at least during each phrase. In a competition setting though, to do that properly you would have to be sure to start the routine at the beginning of the musical phrase – if those are thirty-two beat increments, that means that I would have to be sure to start exactly on beat one of the song, or else I am waiting until beat thirty-three. Starting anywhere else means that my routine does not line up with the phrase in the song. Would the judges think that it is appropriate if I hung out at the beginning unmoving for thirty-two beats? Something about that strikes me as wrong, so I probably wouldn’t.

I’m not sure if any of this line of thinking really interests anyone else, but I find it fascinating, and could probably ramble on about it for much longer. I took a lot of music theory classes in my youth, and I hadn’t really thought about that material in a long time until after I went to this class, so now I have all these interesting connections going on in my brain that are a lot of fun for me. I’ll spare you the full force of those connections though… for now. Maybe I’ll touch on it again in the future for other dances as new revelations about musicality come to me.

Well, a weekend devoted to competition is upon me again. Even though I go through all my rounds in the time span of a few hours on one day, it always seems like the competition sucks up my whole weekend somehow. What’s up with that? This time around, I didn’t schedule anything else for this weekend, just in case. No lessons, no work stuff, no parties – the plan is just to focus on what I’ve got to do, and not worry about anything else until Monday.

Will having a clear schedule this weekend make a difference in how the competition goes? Not from the standpoint of my results, but rather from the mental and emotional drain that running around to these competition events causes? We’ll have to see! I’ll tell you all about it next week!

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!