From Where I Stand I See

I’m going to start off this week with an update for you on something I mentioned last week: over the weekend I managed to convince Sparkledancer to bring her competition shoes with her to one of our practice sessions so that she could test them out. Turns out that the shoe that the girl stepped in at the competition did get stretched out pretty badly, and nothing Sparkledancer tried that day as we practiced managed to make the shoe feel stable again. After testing it for about an hour, she told me that she might feel comfortable using them occasionally for practice, but to put them away again and try to rely on the shoes to function well during a competition would be a bad idea.
So, after a lot of arguing and a brief and hilarious scuffle, I managed to steal one of her shoes and look at the size printed on the inside. I went ahead and ordered her a new pair. Despite what she will tell anyone else, I personally feel like it was my fault that I didn’t get us away from those other kids on the floor, so I will take responsibility for that other girl sticking her heel into Sparkledancer’s shoe and damaging it. Plus, I’m lucky enough to have a job where I get paid enough to afford to do random things like this, so it’s really no skin off my back.

One thing that I did learn is that the shoes Sparkledancer uses are stupid expensive. Holy cow, those are the most expensive pair of shoes I’ve ever bought in my whole life! I thought I paid a lot when I got my own super-fancy shoes that I use for practice (and the second pair I have in my closet that I only use for competitions), but those shoes seem cheap by comparison. Do you think that it’s because there are so many more female ballroom dancers than men, so men’s shoes are just less expensive because of the disparity in demand? That would be an interesting peek into the economics of ballroom dancing.

Anyway, once the new shoes show up the problem will be corrected. I still feel bad that anything happened in the first place, but being able to fix the problem eases my guilt quite a bit.

Enough about shoes, let’s talk about dancing. This past weekend, aside from practicing, I managed to get myself out of the house on Friday night to head out to the Endless Dance Hall for their party. It was the biggest party scheduled in the Dance Kingdom – many other dance studios cancelled their own Friday night parties so that they could join the fun out at the Endless Dance Hall. Why would they decide to do something crazy like that? Well, they all knew that they just couldn’t compete with the Endless Dance Hall. For one thing, it does have the biggest dance floor available anywhere within a few hours drive. For another, they had hired the best ballroom DJ to come play the music that evening, and that always draws in a fair number of people.

But the real coup de grâce was the fact that they made their party free to everyone who showed up.

Yeah, free parties do tend to attract people more than parties that you have to pay for. Especially parties that also have a dance lesson being offered (for free, of course) and prizes up for raffle (also free). What’s not to love? So it totally makes sense that all the other studios in the surrounding area cancelled their Friday night parties and encouraged their students to go over to the Endless Dance Hall. Heck, I even saw some of the instructors from other studios in the area at the party that night, weirdly enough. There’s no question in my mind that it was the place to be! That’s why I went!

I didn’t get there early enough to take part in the lesson. I mean, I’m sure I could have jumped in right at the end to help out since there did seem to be a few more ladies than men on the floor, but as I stood watching what was going on for a few minutes I couldn’t figure out what was going on. The lesson was on Cha-Cha, I did get that much, but there were a lot of people I had never seen before in the lesson, and most of them appeared to be lost on what to do, so trying to glean the steps that were being taught from them wasn’t working for me. The instructor had a microphone, but with the noise from the crowd going on I couldn’t understand half of what he was saying. So, I just stayed on the sidelines and watched instead.

But I didn’t have to stay on the sidelines long! Soon the lesson finished and everyone in class was released to do what they wanted. I spent my time that evening between dancing and talking with a bunch of people I hadn’t seen in a while. I don’t know if my number was ever called in the raffle – I ended up giving my ticket to the Dance Robots. The prizes looked nice, but I didn’t really need anything, and those two always make me happy when I see them.

I danced a lot that night, and because of that I didn’t manage to hit up the snack room until way late in the evening – like half-an-hour before the party ended late. As my luck would have it, a lot of the good snacks were already gone, which made me kind of sad. I don’t know why it is that I don’t feel hungry until so late at night. I mean, I do have a tendency to make sure to eat dinner before I go to parties like this, which probably has a lot to do with it. Do other people just not do that? Is that why they always plow through all the snacks before I feel like having something? Just a weird thought I had that night…

Monday night in Latin Technique class we continued with the trend that we started last week of working on simple figures to help the new ladies that joined class improve their basics. This makes two weeks now for these new ladies. I wonder if they’ll stick around long enough for me to give them names? I’ve had this terrible luck lately where when someone does something notable enough that I decide to break down and come up with a name for them, they disappear almost immediately afterward. That’s why lately I’ve really only come up with names for the notable dance instructors I meet rather than the students, because instructors are less likely to disappear (though it still happens). Fingers crossed that these ladies in Latin Technique will prove to be interesting and hang around for a while.

This week’s class was all about Cha-Cha. Mostly slow Cha-Cha. I’m pretty sure that Lord Junior said that he had lowered the tempo of the songs he had us practice to down to 65% for much of the class, which felt really slow to me. The figures that we worked on we did end up dancing with partners, but the material was all designed so that the partners were just mirror images of each other. That allowed some of the ladies to pair off with each other. There were six ladies in class that night, and just Lord Junior and I trying to work the crowd would have left a lot of people standing around waiting if he hadn’t designed things so that they could work together.

The pattern that we were doing was short and simple, at least in my opinion. I’ll go through this from the Lead’s perspective – so if you want to do the Follower’s part just mirror what I say. We started out facing our partner and doing a basic chasse action to the right. At the end we went into a basic New Yorker on the right side. Coming out of that, rather than squaring up with our partner again we instead did a 180° pivot and went into a Three-Step Turn heading to the left, letting go of our partner as we started to turn.
At the end of the Three-Step Turn we squared up with our partner again and went into a basic New Yorker on the left side. Coming out of that we went into another 180° pivot to do a Three-Step Turn heading back to the right. At the end of the turn we would reconnect with our right hand, facing our partner with our weight on the right leg, ready to move into something else. That’s where the pattern ended for the night. As I said, pretty basic and simple if you’re comfortable with the basics of Cha-Cha.

To amuse himself, as the newcomers in class got more comfortable with the figures, Lord Junior started to increase the challenge factor. First off, he had us start using our arms. I never think that using my arms looks good (which is part of the reason I have stuck with Standard for so long), but I managed to get through. Next, as you can imagine, he started to speed up the music, first by 5% intervals, then 10%. We did actually make it up to full speed that night by the end, which surprised me. The ladies who hadn’t done much Cha-Cha before were struggling to keep up when the song was at tempo, but they were laughing about it and having a good time, so it didn’t seem like it was traumatic for them. Hopefully that means that they’ll be back for more next week!

Instead of going to Standard Technique class on Wednesday, I headed out to the Endless Dance Hall to meet up with Sparkledancer and Lord Dormamu to finally discuss what he saw while judging us at the competition we were in a couple of weekends ago. The session was enlightening, as you might have expected, and definitely gave me a number of points that I will need to work on in preparation for the next competition I decide to do. Incidentally, that topic came up briefly as well during the lesson, and it looks like the best option for our next competition will be in January at another event that Lord Dormamu is also going to be judging. That sounds really convenient, don’t you think?

After a brief discussion at the beginning of the lesson about what Lord Dormamu saw from us while we were on the floor competing, it was clear to me that I am not one of those magical individuals that does better dancing in a competition than I do during practice. I honestly didn’t think that I was, but this confirms it for sure. There were things that he saw me do that I didn’t think that I was doing, and techniques that I thought I was doing a lot of that he said were barely noticeable. I guess I need to start recording myself more often when I practice if I want to see these things with my own eyes.

One of the most interesting notes that Lord Dormamu said that no instructor has ever told me before was about the incident with Sparkledancer’s shoe. We obviously had to tell him that story about the shoe incident, and how things looked funny while Sparkledancer was trying to get her shoe back on as we danced. He said that in a situation like that, we should have just stopped, separated briefly so that Sparkledancer could put her shoe back on, then come back together and continued. According to him, no judge would mark us lower for doing something like that if it was required to stay safe. Good to know for the future.

Lord Dormamu also noted a similar take on dancing through a contested field. I guess there were points that he saw me moving where I was weaving through the other competitors on the floor. The way he interpreted it was that I was doing it in order to keep moving through my routine and not show any downtime in my dancing. This can be a good thing to do sometimes he said, but there were points where he noticed that moving between other dancers affected the way that I held my frame, or the volume that Sparkledancer was trying to create. If people are too close together, volume is something that obviously contracts if you try to squeeze through people.

I was told that when the floor is crowded with competitors, it can actually be more impressive to a judge if I just stop and hold in place, even if I end up holding for long periods of time while waiting patiently for the floor in front of me to clear up and become safe to continue dancing. Doing this allows me to show that I am calm, confident, and in control of the situation way more distinctly than forcing my way through a crowd ever could. This is especially true while we remain in the closed syllabus rounds, where many of the other competitors will be nervous and fidgety, especially if they are not used to navigating a crowded dance floor. Being calm and poised will set me apart from all the others in the eyes of the judging panel that is comparing all the competitors to each other.
With those overall notes out of the way, we looked at our Waltz and Foxtrot routines that night. The first comment that I got after dancing through both of them the first time was that none of the issues that he saw us doing while dancing in the competition were present now. So, I guess that means that I somehow have to find a way to compete more to figure out how to keep the way I dance in competition and the way I dance in practice the same. Sounds so easy, right? Sigh…

The overall takeaway in the Waltz that Lord Dormamu gave me was that I needed to work on lowering more. He thought that the lowering action was not enough during the competition while I danced the Waltz. To fix this, he wants me to work on lowering even more during practice. That way, when I naturally lower less during a competition, it will still look low enough. You know, overdoing it under control to make it look normal if I ease off. The joke that Lord Dormamu told me was that he wanted me to work on destroying my knees by lowering so much in practice.

I happen to like my knees, so I probably won’t go that far… but I can see what he is trying to imply with that joke.

As for Foxtrot, I was told that there were points during the competition where he could see me pushing off my legs to move. While in some ways this is good, because it shows that I am clearly using my legs to drive through the steps, it is bad when it happens in such a way that it can be seen clearly by someone watching. For example, if I am driving through the step and I give it one last push as I switch from one leg to the other, that action might make me (and then Sparkledancer, because I’m heavier than her) bobble a bit during the transition between legs. Trained eyes pick up on little movements like that!

We went back to talking about the overall vision for Foxtrot – ideally, the dance will flow smoothly from start to finish. Little bobbles that are noticeable will detract from this look that we are trying to achieve. Lord Dormamu said that he wants me to think of the dance as if there were a wire strung along the floor over my route while dancing, keeping everything smooth and level. The only change in elevation should be kept to the sides of the frame as we sway through the steps, while the center of our frame remains smooth and level the whole time (I know it’s not physically possible to do that while swaying properly, but that’s the idea to shoot for).

During the lesson we walked through a lot of the pieces of both routines to make sure that we understood what the end goal was, but a lot of this is going to come down to practice between Sparkledancer and I – repeating everything endlessly to make sure that moving in this nature is a fundamental part of who we are. I know it doesn’t sound super exciting, but that’s how we continue to do well while competing and keep on improving overall at the same time. There are talks about us going to some kind of championship dance competition during 2019, and Lord Dormamu obviously expects us to win, so getting these points that he saw in our last competition straightened out is imperative if we are going to meet that goal he has laid out for us.

Those are my dance notes for this week. I think that it’s going to be a rather quiet weekend in my world. As probably many of you are aware, there’s a big competition going on this weekend in another area of the Dance Kingdom. Like, really big. I won’t be there, since they don’t offer much for amateurs to do at this competition, but I know quite a few people who are going. Lord Dormamu, as you might expect, is going to dance with a handful of his Pro/Am ladies. Lord Junior is also going to compete with what sounds like a whole contingent of his students. That should be some crazy road trip for them!

To everyone competing in that event this weekend, good luck! More than that, have fun! A wise man once said that if you’re not having fun, then it’s really not worth it. Aside from having fun, I hope that any of you reading this who might be dancing blow all of your competition away… unless you are competing against one of my friends, then I hope that you come in second. I mean, that’s only fair for me to hope, right? No hard feelings. 🙂

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A Momentary Maniac With Casual Delusions

Man there are a lot of interesting notes about dancing this week! So many! This post could end up being a bit long. I’ll try my best to stick to only the most interesting of interesting details, but I’m laying out that warning beforehand just in case. Deep breath…

The first thing that I should talk about was the competition I was in on Saturday. This was actually my second time signing up to be in this particular event – the first time being last year – so when I got up in the morning to make my way to the Dance Death Arena to sign in I actually knew which room they were using. I met with Sparkledancer in the parking lot so that we would be able to sign in together. As the two of us were getting out of our cars and grabbing our stuff, a lady who had parked nearby saw us. We were both wearing formal attire, so we kind of stood out in the midst of all the other people milling about in the area.

This lady walked over to where we had parked and asked us if we happened to be part of the dance competition that was going on. We told her yes, and she said that she had guessed that was the case because of our outfits. Apparently her son was also taking part in the competition, and she had driven in from out-of-state to watch him dance but had no idea where she to go after she had parked her car. Lucky for her, I knew right where to go! She decided to tag along with Sparkledancer and I as we made our way into the building and up to the room that was set aside for the competition. The lady parted with us as we reached the check-in desk to wander into the room and search for her boy. I hope that she came back and bought a spectator pass at some point later…

I was signed up for the same set of rounds this year that I did last year at this competition, and like before there were two rounds that were packed with other competitors and two rounds with almost no one else in them. The two rounds that had people sign up made me really happy – after competing uncontested in the last couple of competitions I’ve been in, being in these rounds more than made up for that. There were a bunch more couples signed up this year than there were last year! So many more in fact that they had to split the rounds one additional time over what they did the year before. This time, we had an extra ‘first round’ (that’s what they called it) we danced before the Quarterfinal rounds. I ended up dancing a lot more on Saturday morning than I had originally expected.

Just to get it out of the way early, let me say that the competition went really well. The only part where Sparkledancer and I had an issue was in the final Tango and the Foxtrot of the day, which were the last two dances that we did that day. Something unexpected happened that caused those dances to go a little off track, but I’ll talk more about that later. Overall the competition went great – much better than I expected it to.

The most nerve-wracking part of the whole competition experience was having Lord Dormamu as a judge that day. I felt like I had to put extra effort into everything that I did in order to live up to his expectations. I wonder if anyone else was feeling like that because he was judging? Maybe it was just me. Probably Sparkledancer too, since he’s obviously her coach as well.

Funny thing about Lord Dormamu being a judge: as I was waiting in the on-deck area for my first round of the day to start, the girl in line right behind Sparkledancer and I was talking to her partner about Lord Dormamu. She was super excited that he was there that day. I guess she has gone to some of his ‘Master Classes’ in the past, and even got a chance to dance with him at some social party a few months ago. She then proceeded to sound almost offended that he hadn’t gone out of his way since arriving at the event to come over and say hello to her… because obviously there was no way he could have forgotten who she was after that dance they had shared at a social! I had to work really hard at keeping a straight face when hearing her go through her line of reasoning.

Early rounds of dancing all felt really good, and Sparkledancer and I made it through the ‘first round’, Quarterfinal and Semifinal rounds to get on the slate for the Finals in all four dance styles we were doing that day. After the Semifinals, the organizers had put in a few other rounds of different dances just to mix things up a bit. Two of those extra rounds were the other rounds that I was signed up for, the ones that had only Sparkledancer and I and one other couple signed up to dance in. To make better use of the floor, they also rearranged other parts of the schedule to have some of the Mixed Proficiency rounds on the floor at the same time.

The first round of these smaller heats for me took a sideways turn – not in the dancing I did, but from an organizational standpoint. I’m not sure what went wrong, but for the first dance in the round they had us all take the floor and get ready to Waltz, and then let us go. Everything seemed to be going fine, but as the music wound down the judges were all huddled together along the side and were talking. That’s never a good sign… all of the competitors were standing around watching, starting to fidget a little bit. After a few more moments the emcee came back to the microphone and said that since our Waltz was so good, they were going to have us do another fifteen seconds of it so that the judges could see a little more. The music started again, we danced a little more, and then stopped.

Whatever was going on still wasn’t good, so the emcee came back and said that they were going to have to reset and have us do the whole dance again! So, once more I got to go through that Waltz number. I thought that everything went well this time around and we’d actually be able to move onto the next dance style… but alas, ‘twas not to be. After a few more minutes the emcee came back to the microphone and finally admitted that they were having some kind of technical difficulty, so while they worked that out they were going to put on a few songs for general dancing, and then when everything was fixed all of the competitors would get to come back and do the Waltz one last time. So I got to dance a lot more Waltzes that day than I expected.

Finally we got to the Finals for my highly contested rounds. First two dances (Waltz and Quickstep) go great. Everything feels strong and in control, and I can’t think of any points that I would have wanted to go back and do better. Then we got to the third dance… the Tango. In the middle of the second Back Corte along the first long wall, something happened where another couple of competitors got too close to us, and somehow the female in that pair put her heel into Sparkledancer’s right shoe! That obviously got her foot all caught up with the other girl, so she tripped over her feet a bit at that moment, and that made me trip up a bit (luckily no one fell), so coming out of that Back Corte as you can imagine was rough and it took a few steps to recover… or so I thought.

The incident made things much worse for Sparkledancer than I knew about at the time. She couldn’t tell me until after the Tango was over, but one of the results of the girls sticking her heel into Sparkledancer’s shoe and pressing down was that she pulled the shoe almost all the way off of Sparkledancer’s foot! For quite a while after that happened, Sparkledancer was desperately trying to keep from losing her shoe. She was spreading her toes as wide as possible to hold onto the shoe, and slamming her foot down onto the floor to try to get the shoe back over her heel so that it would stay in place. Obviously these movements would have made her footwork look a bit strange if any judges were watching closely enough.

When the Tango ended and we had a moment to recover before the Foxtrot, Sparkledancer finally managed to pull her shoe all the way back on properly, but it seems like the force of the girl putting her heel in there also stretched out the side of Sparkledancer’s shoe. I guess it was stretched out enough that her foot was wobbling around inside of the shoe instead of feeling secure. That made going through the Foxtrot a strange new experience for her as well.

I felt terrible about this after we got off the floor and Sparkledancer had a chance to tell me (and show me) what actually happened. Absolutely terrible. I didn’t think I had gotten too close to the other competitors on the floor, but I guess I misread the signs of where that one couple was going to be moving, and that allowed them to get close enough to us for this accident to happen. The worst part is that the shoe got stretched out badly enough that it doesn’t feel secure for her anymore. She told me that she is going to look at it and see if anything can be done to repair it, which may involve her drilling another hole into the strap that goes across the shoe so that she can pull the buckle tighter.

If nothing works, I’m going to have to find a sneaky way to figure out what size her shoes are and order her a replacement pair. I feel responsible since I was the one leading, so if need be I’ll be the one to pay to fix things. I know that Sparkledancer will probably read this and then call me or text me to argue this point… but she really can’t fight me over it. After all, I’m bigger than her, so she really can’t stop me. Plus, if I just buy the shoes and then give them to her husband, he’ll make sure that she uses them for me. One way or another, I’ll win.

Anyway… once we got all our marks back from the judges for the finals, it was clear that the last Tango and Foxtrot got marked a little lower than all the other Tango and Foxtrot rounds we did that day. That’s OK, it’s what I would expect. We still did really well all things considered, but I would bet that we would have done a little bit better without the shoe malfunction. So yeah… there’s really no way you can practice to recover from an unexpected event like that, so I don’t know if there’s anything we need to do to change the way we practice because of these particular results. The notes that we get back from Lord Dormamu on what he saw while judging us will be the areas that we’ll focus on instead, and I’ll just write off this incident as a fluke.

On Sunday afternoon, instead of staying home and relaxing I decided to head out to the Electric Dance Hall to watch the showcase performance that was scheduled for that day. Since I end up out at the Electric Dance Hall off and on to practice, I have seen quite a few of these performances throughout their stages of development, so I thought it would be good to go and support everyone, and also see the polished final products. It was actually a lot of fun for me to just sit and watch everything and talk with some of the people I recognized. There was some social dancing scheduled between acts, but I didn’t even bring my dance shoes with me to the party this time around. It was a nice little break for me!

(Just so you know, I did meet up with Sparkledancer earlier in the day on Sunday to practice, so it’s not like I didn’t also do some dancing on Sunday…)

This showcase had a vague theme that was outlined on the flyers for the event, and when I got to the Electric Dance Hall I saw a couple of people who were sort-of dressed up to fit with that theme, but the overall impression that I got from the performances was completely unrelated. So I’m not really sure if the theme had any real meaning for the day, or if the original plan called for the performances to be more theatrically appropriate, but that fell along the wayside somewhere.

Aside from the handful of performances that were group numbers, all of the other dances were done by Pro/Am pairs. That’s not really super meaningful one way or another, but it’s just something that I noticed. Usually during showcases I see one or two Amateur pairs performing, but there were none signed up this time around. The person who performed the most that day was actually Lord Junior for once. In the last few showcases I’ve been to that he’s hosted at his studio, usually there are other instructors signed up for a ton of dances. This time it was his students who had filled most of the slots. Good job Lord Junior!

You know who I did unexpectedly see performing again that day? Pompadour guy. Yeah, he showed up again, still giving off his strangely creepy vibe. I’m going to call him Sir Zippy just to make things easier. Actually, I got to see him earlier in the day before the show too. When I met up with Sparkledancer for practice, we had been dancing for about twenty minutes when Indiana showed up at the studio randomly. That was unexpected in and of itself, but then Sir Zippy also showed up! The two of them were going to be performing together at the showcase, doing the same number that they had danced during the last showcase when I first say Sir Zippy, so they were meeting up to get in a little practice before the event.

I did try to talk to Sir Zippy a bit that morning, to try and see if the creepy vibe coming off of him was all in my head or if he was actually a creep. However, I discovered that English is not his first language, so our conversation was… almost nonexistent. That didn’t help change my impression of the guy. Indiana had nothing but nice things to say about him, which kind-of helped… aside from the “funny” story she told me about how she was riding around in his car with him and the brakes apparently decided to quit working properly. He started to drive a bit erratically, but didn’t tell her anything was wrong until they got to their destination safely. Obviously they both managed to get out of that situation unharmed, which was great, but I just couldn’t see any humor in that. Maybe she needs to try telling me the story again with more animal puns? That might make it funny.

Other than Indiana and Sir Zippy performing together, there were a couple of other notable acts to mention. Indiana had brought her group of kids with her, and they performed one of the numbers that I saw them perform last month. I got to watch from a different angle this time, so that was fun. The Professor showed off a dance number with a bunch of ladies from his dance fitness class. I think the performance was intended to promote his class, and wasn’t put together specifically for the showcase. That guess is just based on all the repetitions of the same movements that they did during the song, which is something I would expect from a fitness class’ choreography, not a showcase performance choreography.

There were a couple of numbers that Lord Fabulous did with a few of his students. These were notable for a very different reason – which I noticed while he was dancing, and it was pointed out to me by another person watching the performance, AND was also pointed out to me by someone else before the class I went to Monday night. That’s how you know what he did was notable.

So what was it? Well, Lord Fabulous was being really, really, really forceful while leading those ladies through the performances. Like, to the point of being almost uncomfortable to watch. One of his students that he did a couple of dances with during the show was a much older woman who looked to be all skin and bones, and he was just shoving or pulling her roughly through every turn and rotation. There were a few points where it looked like he had used so much force that it caused her to over-rotate, and then she would get this confused look on her face as she tried to figure out on-the-spot how to recover properly.

I’m not sure if he was dancing like that at the show because of the adrenaline of performance or what. Sparkledancer has told me in the past that Lord Fabulous has an extremely forceful lead even during casual social dances, so maybe this was just the first time I really paid attention to how he dances from the outside. Crazy.

After all that, Monday night I got back to a bit of normalcy and headed out to Latin Technique class for the night. There were a couple of new faces that joined us in class – both of them were members of Lady Lovelylocks’ ‘Sexy Lady Formation Team Dance Club’ group that had performed at the showcase. They wanted to continue to improve at being Latin dancers, so they are going to start coming to Latin Technique to help out with that. Hooray!

One of them had asked Lord Junior if he could go over some basic Samba in class that night to get them started, and since he is such a nice guy he agreed. It was a little repetitive for me since we had just gone through Samba last week, but since Samba is one of those styles that I freely admit that I am not at all good at, I didn’t offer up any resistance to the idea. As it turned out, we didn’t do any partner work that day anyway, so I was able to work on trying to control my poor white boy hips in the back of the room all by myself without worrying about offending anyone else.

Interestingly enough, for a warm-up Lord Junior had everyone work on isolation exercises. They were just simple movements, like leaving your feet and shoulders still while moving your hips back and forth, or leaving your lower body still while moving your shoulders back and forth – all the ones he had us look at that night were core related, leaving the legs and arms out of the equation. He made a few remarks about how important these sorts of exercises were for dancing and improving flexibility, and how he really should make us all do more of them, but since they aren’t all that exciting he told us we should find a way to do them on our own time. I didn’t think that the exercises were all that challenging, but then again I do a lot of core exercises on my own time already. After all, that six-pack doesn’t maintain itself!

Once we finished up with that, Lord Junior moved us on to look at Whisks. For the new girls in class, he mentioned the basic forward-and-backward actions that is the actual Samba basic, but said that you rarely (if ever) see anyone doing those once you move beyond the basics since they are super boring. He likes to have his students think of the Whisk as the basic action instead, because it’s more fun. After the Whisk, he moved on to show the ladies the Botafogo, since in the Samba line dance that is popular in my neck of the woods that is the next figure that you see. Finally we looked at the Volta action, which is what we spent all kinds of time on in last week’s class. As class was winding down, we combined all three figures to run through everything slowly a few times with slowed down music.

Whew! I’m got tired all over again just typing all of these stories out. We’ll just call it good there for this week. I’ve already written much more than the self-imposed word limit I try to hold myself to (I fail at it a lot…). Until next time friends – keep on dancing!

Cyclops Woman Got One Eye In Her Head

All sorts of non-dance stuff went crazy this past week. I feel like it knocked me a little out of my gourd. I’m hoping that all the issues get squashed soon. I don’t like the feeling of being out on the vine like this.

…did these pumpkin jokes do it for you?

Moving on. Let’s get right into it and talk about Latin Technique first! Much like last week, this week in class was all about Lord Junior working on some of the new choreography that was put into Veep’s Latin routines to help her (and him too!) memorize everything. The two of them are planning on competing at an event early next month to debut these new routines, so Lord Junior wants to be sure that they get as much practice with the new sections in as possible so they don’t forget anything. This week we looked at the new opening section to Veep’s Cha-Cha routine.

The routine starts off with both partners facing each other in a one-handed hold, the Lead having his weight on the left leg and the Follower on the right. Once the music starts, you do a rock step backward and go into a Forward Lock. When you get to the end of the Lock Step and do another rock step going forward, the Lead would take the Follower’s other hand, then go into a Slip Chasse. However, instead of bringing your feet together at the end of the Slip Chasse, you would twist 90° clockwise and take a step to the side. While doing that, the lady would be doing a Forward Lock, but as the Lead rotates he would let go with his left hand while continuing to hang on with the right, which leads the lady to finish in a side-by-side position with the Lead.

After this, the rest of the opening is pretty much all the work of the Follower while the Lead gets off easy. Over the next measure in the music, the Follower would compress into the Lead’s right side momentarily before pushing off and striking a line with their right arm up in the air. Next the Follower would do a Three-Step Turn, rolling in across the Lead’s right arm. He would curl his body slightly around to let her through, then do an in-place chasse action that turned our bodies 180° while the lady does another Three-Step Turn to roll out across the right arm again. You’ve probably done one of these roll-in, roll-out moves before in a number of other dance styles, so it should be pretty easy to picture the idea. We did two in a row to get the lady back to the place she was when she started.

On the next measure of music the Follower would repeat the compression action into the line that she did before the first roll-in, and then we would roll her in again. This time however, the lady would take an extra syncopated step as she passed in front of the Lead’s body before she started to roll out. The Lead would let go of her completely as she rolled out, staying in place and not rotating this time, while the Follower would go into a New Yorker. As the Follower hit the line for the New Yorker, the Lead would reach across with his right arm to grasp the Follower’s left forearm, basically to keep her from flying away from us if she went into the New Yorker with a lot of power.

At the end, the Lead would pull the lady back onto her right leg and give her a little spin so that she could do one last Three-Step Turn. The Lead would do a basic chasse moving to the right at the same time, and we should end up facing one another with the Lead’s weight on the right leg and the Follower’s weight on the left, ready to continue the routine. That’s where we stopped things that evening, since the next section of the routine was actually made up of pieces that Veep already knew.

The most interesting conversation I had this week in regards to dance happened on Tuesday night. This may be a lengthy discussion, so sit back and enjoy if the matter interests you.

As you might have guessed, on Tuesday night I had a lesson with my coach Lord Dormamu. The lesson part itself covered Waltz, Foxtrot and Tango, and we talked about a lot of the finer, nitpicky points that are needed to keep moving those styles forward toward the next levels. It was all fascinating stuff that I could spend this entire post talking about if I wanted to, but the thing that really set my mind into a tizzy actually came about because of a question that I asked him right at the end of our lesson that was completely unrelated to anything that we had talked about during the whole lesson prior.

Right at the end of the lesson, as we were sitting down to ‘do the paperwork’ so to speak, Lord Dormamu was telling Sparkledancer and I that next time we got together we would look at our Quickstep routine primarily, since we didn’t get to it that night. The mention of Quickstep made me think of Standard Technique class the week before, where Lord Junior had shown me a full Natural Turn in Quickstep that has a second half to the figure I had never seen. So I asked Lord Dormamu about it, and whether or not I would ever use the full version of the figure for anything. He told me that I would in the future, but not yet. It was one of those ‘only when you’re ready, young grasshopper’ moments.

But then I mentioned that Lord Junior had said that no one ever does the second half of the figure, and I wanted to know if he himself had ever used it before in his days as a competitor. That led him off on a wild tangent for the next fifteen minutes where he went off on the way Pro/Am is done in this country, and how much the traditional rules are overlooked for the sake of making students feel like they are progressing faster than they actually should, all in the name of having them continue to spend money on taking lessons and going to competitions instead of putting in the hard work of actually learning to do the dances properly.

Apparently, according to Lord Dormamu, it is a rare thing in the US for instructors to work with their students on Closed Gold, especially in International Standard and International Latin where the syllabus figures are so clearly defined. He says that most instructors feel that the figures and techniques required are “too difficult” for their student because they push the student through Bronze and Silver so fast, so what a lot of instructors will do is to move their students from Closed Silver all the way up to Open Silver, bypassing Closed Gold and Open Bronze completely. This allows them to put off having to teach the student the figures and techniques from Closed Gold for at least another year, if they ever actually decide to go back to it at all.

Supposedly this is done to help the student think that they are ‘moving up’ in the competition world while avoiding the things that would potentially frustrate them, for fear that the student might quit out of frustration if they tried to make them do the work. Lord Dormamu told me that this practice of having students skip levels got to be so commonplace that some large competitions in the Pro/Am arena had stopped even offering Closed Gold rounds entirely decades ago, because instructors stopped signing up for them.

The effect of this, Lord Dormamu thinks, is that you have a weakening of the skills of both the Professionals and the Amateurs in the US because the Professionals would rather put off doing the hard stuff until later to keep making money. Not only are the students not being pushed to learn the material, but if an instructor has no students working on the material then they themselves may not be practicing and keeping their skills up in that material, so doing this can cause the instructor to get rusty. A big problem that he sees though is that a lot of the “really cool” figures in the Open-level world use pieces from the Closed Gold syllabus. He specifically mentioned things like the Hover Corte, Fallaway Reverse and Slip Pivot and the Bounce Fallaway as examples.

Not studying these figures and their associated techniques in Closed Gold means that the student will oftentimes see those techniques for the first time when they get their higher Open-level routines at the Open-Beyond-Gold levels. If the student didn’t learn the techniques, and the instructor let him/herself get rusty because they have few high-level students who ever reach that level, then the Pro/Am couple is suddenly at a huge disadvantage during a competition. All it takes is for a couple of students to enter the events who have mastered the techniques in Closed Gold, and suddenly the rest of the competitors who were allowed to skip up into the Open-level rounds are marked poorly in comparison. Lord Dormamu told me that when he is judging events, his eyes can pick out the differences in people who have mastered the concepts and those that were just moved up into the Open category and weren’t really ready to do so quite yet.

Since Lord Dormamu is not originally from this country, he was raised in a different competitive landscape. When he was on his competition journey to becoming a world champion, his coaches made him compete in Closed Bronze, Closed Silver and Closed Gold, and train hard enough to do well in his events, before he was even allowed to toy with the idea of moving away from the syllabus into the Open-level world. That is the way he is training all of his students as well, whether they be part of an Amateur duo (like me) or one of his Pro/Am ladies. He refuses to allow any of us to start working on Open-level routines until we manage to complete Closed Gold to his satisfaction.

To that end, Lord Dormamu told me that he actually had to push for the organizers of one of the biggest Pro/Am competitions in the country to add Closed Gold to their list of offered events, all because he had a student who moved up to compete at that level. After hounding the organizers for a long time, they finally relented and added the rounds for him. The events ended up being small, with only seven couples signing up, but I guess it was the first time in almost forty years that they had even run Closed Gold rounds at that particular competition.

(His student obviously swept first place across the board in the Closed Gold at that competition…)

Now, to pull this rant of Lord Dormamu’s back to show why it intrigued me so much… both Sparkledancer and I get asked a lot why we are still competing in Bronze events, even though we no longer look like the average Bronze-level dancers. People are curious what the reasoning is that we remain behind even though many of the other people that we have been in competitions against have already moved up to the next level. When I try to explain to them that our coach is holding us at our current level until he is sure that our fundamentals are rock solid, I get either wary agreement or replies that I could do so well in the higher levels, so there is no reason to hang out in Bronze any longer.

I guess that it is hard for people to accept that we would purposefully pay our coach to hold us down. Outside of the franchise studio environment, there really is no ‘graduation’ ceremony that one has to accomplish before they can move up to the next level. As Amateurs, Sparkledancer and I could sign up to dance in whatever events we wanted. If we wanted to jump from Closed Bronze International Standard straight to the highest Championship levels in American Rhythm, no one would question us when we signed up. They might question us when we got off the floor at the competition after watching us dance terribly, but that’s a different matter entirely. So because there is no set point to confirm a competitor is ready, a lot of people just decide to jump up to the next level after they get bored dancing at the lower level, whether they have actually mastered the material at that level or not.

There is one couple in particular that comes to mind. I have competed against them a number of times, and talked with them about other competitions that they have done that I didn’t sign up for. The female from this Amateur pair loves to talk about all the first place ribbons/stickers/medals they have won when she is telling everyone about their results. What she doesn’t mention is that they mostly dance unopposed because they are in that weird limbo age category where there are so few competitors. When they do get on the floor with other couples, they don’t do nearly as well. And then, I think that she secretly doesn’t like me, because all the times they have competed directly against Sparkledancer and I, we have always crushed them when the results come in.

The two of them decided to move up to dance Silver this month. It wasn’t a recommendation from their coach, they just decided on their own that they no longer wanted to dance the simple stuff in Bronze, and there is nothing holding them back. So this month they have been working on adding the new figures from the Silver syllabus into their routines in hopes of being ready to compete again in December of January. That example I think illustrates what Lord Dormamu is talking about – people decide for themselves that they want to move on because of boredom, and the coach that trains them doesn’t stop them because he wants to keep the money for their lessons coming in.

Is there a good fix for this? I don’t know. The franchise studio system seems to have things worked out pretty well, where students have to ‘graduate’ from one level to another. However, that kind of system would be nearly impossible to implement in the world outside of the franchises where every studio uses a disparate system for tracking their students’ progress. The bigger dance organizations have ‘point systems’ to help track progress and prevent more experienced dancers from sandbagging the competition, but tracking the points is done primarily through the honor system rather than through some centralized electronic system, so I know people who have fudged their numbers so they can compete at whatever proficiency levels they want because they like to win.

As for me, I guess I am content just following Lord Dormamu’s master plan, rather than moving up at whatever pace I could get away with. Sure, sometimes it makes things a bit boring for me, but if I go back through my notes I can see the long-term progress that training in this way has allowed me to make. Plus, the progress plan he has me on is tracking really well to the proficiency point plan of the organizations that I do the most competitions in. By the time I reach the maximum number of proficiency points I could carry, Lord Dormamu has said that he plans to move me up because I will be ready anyway. Knowing that the end is in sight keeps me content with where I am currently.

Also, as I’m sure you guessed, I was told that night that I will have to go through Closed Gold. He told me to look forward to it, because he thinks it will be fun for all of us. 😉

One last quick story, then I’m done, I swear… we had a special treat this week in Standard Technique class, a treat that hopefully lasts longer than one week. There was a random guy wandering around in the studio when I got there for class. I didn’t think anything of it at first because I assumed that he was there for the Hustle class that is usually taught on Wednesdays on the other side of the Electric Dance Hall. But as Lord Junior came over to start Standard Technique class up, the gentleman followed him. The surprising thing was, it was actually a guy that I knew! Someone that I had even picked out a name and a Lego Figure for in the past! How convenient is that? Let’s all welcome back The Professor to the scene!

It took me a bit of searching to find what I wrote about the last time I saw him, but for those that don’t remember this guy, he is a highly sought after dance fitness teacher in my area of the Dance Kingdom. According to Lord Junior, The Professor recently decided that he wanted to take that next step and start working on becoming a ballroom dance instructor, so he went to Lord Junior to ask for assistance. Being the nice guy that he is, Lord Junior said that he would help train him… but rather than start out simply, he decided to throw him to the wolves and have him join us in Standard Technique class.

Now what we ended up doing in class was really simple as far as the figures are concerned. We looked at Waltz, and went through a Natural Turn, an Open Impetus, a Chasse from Promenade Position, and then a Quick Open Reverse Turn to finish things off. All fairly simple figures that most of the people in class had seen before – except for the new guy. The more experienced dancers in International Standard were told to focus on other technical aspects in the dance since the figures were simple, namely the footwork, posture, frame, timing and alignment. Those points sound familiar, right?

The Professor was told to just stay alive for his first night out on the floor with us, and I think he managed to do just that. Sparkledancer told me after class that his frame was really loose, and both she and Veep were backleading him through the figures when they danced with him, but otherwise he did OK. I could tell that he was thinking really hard about what he was trying to do though, even if I didn’t dance with him. All the other times that I’ve ever seen The Professor he has been very bubbly and extroverted, but throughout the class that night he was rather subdued and looked very thoughtful, watching both Lord Junior and I closely when we were going through his steps.

I hope that this first class didn’t scare him away. It would be nice to have another guy who shows up regularly to help out in Standard Technique. Also, I secretly hope that Lord Junior tells him to start coming to Latin Technique on Mondays as well. I wonder how long the study period is for someone to become a ballroom instructor? Maybe I’ll get lucky and he’ll be working with us in class for the next several months or more. That would be awesome!

It’s finally here! The big weekend in October! The one where everyone throws dance parties and we’re allowed to wear costumes! It’s my favorite. I don’t know if you caught on to that at all. This year I know for sure that I will be going to the party out at the Electric Dance Hall on Saturday night. There are a couple of options for Friday night that I have heard of, so assuming that I can get out of work early enough to make it to a dance party, I will try to choose the most fun one of those to go out to as well.

Also, I’m super excited about my costume. It started out as a joke that I made with a friend of mine, but then I decided to make it a reality. No one at any of the dances I potentially go to will know the story behind my costume, but luckily it will still be funny when they see me in it even without knowing the joke. It’s just that hilarious.

Where will you be going to dance for Halloween this year? Are you planning on being anywhere that I’ll be? I mean, you won’t know if I’m actually there, since I’ll be in costume, but if you do know that it’s me maybe we could high-five or something. I hope to see you out on the dance floor!

I Was A Hand Grenade That Never Stopped Exploding

Last Saturday night I was feeling mildly extroverted, so I decided to head out to the dance party that was planned for the evening out at the Endless Dance Hall. This party wasn’t like most of the parties that go on in the Dance Kingdom – normally the hosts of the party set up a pre-party dance lesson from some local instructor to lure people to their event. This party wasn’t going to have one of those. Instead, the Endless Dance Hall had planned on having a showcase performance on Saturday, so the organizers of this dance party worked with them to schedule their party to start right after the showcase finished. They gave people a special deal that let you get a ticket to both watch the performance and attend the dance party for one low price, so of course I got there early enough to do both.

My friend Indiana had a huge role in putting the showcase part of the evening together, and I think that she was either dancing in or had choreographed at least two-thirds of the dance numbers in the show that night. Hooray for her! Normally when I go to showcase performances, what I see is basically an all-male review, with the majority of the acts being by a few male instructors dancing with their amateur female. It’s nice to occasionally switch things up and see what kind of show you get when a lady takes the spotlight.

Indiana spends a lot of time working with a gaggle of kids, and has been crafting them into a dance troupe over the last couple of years. This is an endeavor of hers that has been supported by donations from the whole dance community, and she likes to use events like these to give the community a chance to see what their donations are helping to achieve. That night the kids were the ones dancing the most – sometimes as a big group with all the kids participating, and sometimes as smaller groups. One of the acts was even done solely by the eldest male and female students, dancing together on stage alone. Sometimes when I am out at the Endless Dance Hall for my own lessons I have been able to see Indiana working on these routines with the kids, so it was cool to see the finished products.

There was one part that I admit that I was a bit worried about. In one of the routines I had seen them practice, two of the older boys pick up two of the much younger girls and hold them over their heads. I saw them practicing this lift in a couple of their rehearsals prior to the show, and what I saw had me a little worried. My biggest concern was obviously for the safety of the girls. I know that they chose the younger and smaller girls because they weigh less. The two boys doing the lifts were older, but are still in that scrawny early teen phase of their lives, so they don’t have a ton of upper body strength. As a male who went through that same scrawny early teen phase, I know what it’s like. In rehearsal there were a few times when the girls came dangerously close to being dropped – one time would have become a close encounter with the ground if other kids standing nearby hadn’t helped catch the young girl. So that was one thing that concerned me.

Also, the place where the boys were putting their hands on the young girls back to hold the girl over their head caused her to bend her back weirdly. At least, it seemed weird to me when I watched them do it in rehearsal. Then again, I am no longer that young, and it’s very rare for me to bend in strange angles like that nowadays. The young girls may have thought that bending like that was totally comfortable, even if it looked like an awkward angle for their spines to me. I never asked them, so I don’t know for sure.

But my concerns were all for naught because the lifts went off without a hitch that night. The crowd went nuts for them, as I’m sure you could have guessed. I’ve said it before, and I’ll say it again – if you want to do a dance showcase and really impress your audience, a lift is the way to go. People love them!

Other than Indiana and her kids group performing that evening, there was one other notable instructor that was there performing with a couple of his students that evening. He was notable to me not because of how well his acts went (they were all really good), but rather because of him… I had never seen this particular instructor before in all my travels around the Dance Kingdom. I found out later that he had come in from out-of-town with his students specifically to perform in the showcase, which explained why I had never met him before. I like to believe that I’ve talked to or seen pretty much all the instructors that teach in my little corner of the Dance Kingdom by now.

There was something… I don’t know exactly, but the guy just gave off a creepy vibe. Have you ever been in the same room as someone, and you know that they’ve done nothing out of the ordinary, but the person just feels creepy? That was this guy for me. Maybe it was the greasy pompadour that he had going on that was throwing me off. Maybe it was because during his dance performances he seemed to like doing things that would shift the focus away from his students who were dancing and onto him. I’m not entirely sure, but I just couldn’t get away from the fact that he creeped me out.

Before you think badly of me, just know that I did intend on trying to talk to this guy after the performance was over. I thought that if I said hello to him and talked for a moment, I could learn more about who he was and probably find out that he was actually a really nice dude. Unfortunately, he didn’t stick around after the performance was over, so I never got a chance. I guess I will never know unless I see him around again sometime in the future.

The dance party after the showcase was also a lot of fun that night. There were a couple of younger guys who came to the party and danced together most of the night. That is not notable in-and-of itself, but I noticed it because they kept switching off which guy would lead and which one would follow. I did stop and talk to those two to praise them for being able to do that. Neither one of them was an instructor, they just both liked to have the option to be both the Lead or Follow as the mood struck them. I’ve been in classes where the instructor has asked everyone to try dancing the other part before, and it is a hard thing for me to do if the steps are not the natural opposite of what I would normally do, so my hat was off to these guys for being able to do that!

On Monday night out at Latin Technique class, I had a really easy night. The ladies that were in class did not, but Lord Junior and I did (relatively speaking). The weekend before class, Lord Junior and a few of his students had worked with some high-level out-of-town coach, and the coach had helped Lord Junior take a large chunk of Veep’s Open Rumba routine and throw it out to put in something much harder. Because they had just put the new section of the routine together only a few days prior to Latin Technique class, Lord Junior decided that since Veep was in class that night he would go over that new piece of choreography with the whole class… mostly to help the two of them memorize it faster.

Like a lot of high-level Rumba routines I’ve seen in my time, this new choreography is also focused on having the ladies do some crazy stuff, while the guy gets to basically just shift his weight back and forth over his legs without moving around. Most of what that consists of is standing strongly in place so that the girl you’re dancing with could use you for support, or as a platform to push off of. Man, us Leads have really got a rough job sometimes, don’t we?

We started out with the guys in a bit of a lunge on our left leg with our body twisted to offer our left arm to the lady. She was stretched out away from us with her weight on her right leg and her left foot pointed forward. The ladies would do a delayed walking action forward, holding on beat two and stepping on beat three, walking across our body and pivoting at the end to face away from us like in a Switchback, then bringing their arm up and pointing their leg back to create a line. The guys just stand up from the lunge while the ladies do this, then shift our weight to the right leg, then back to the left. Hard work, right?

The next part is the only real exciting thing that the guy gets to do. On the next beat two we would lead the lady to rotate back to face us, then release her hand. During the rotation she would lower down into her legs and put up both of her hands in front of her. The guys would then take a step forward on the left, then a small step on the right and go up on our toes to make ourselves as tall as possible while putting our right arm up. Those steps forward should put the guys body so that the lady’s hands are resting against his upper abdominal muscles. Be careful not to lean forward here – the lady’s hands are only there for decoration, not to actually support the guy. Once you are standing super tall in front of her she’ll tilt her head to look up at the guy – Lord Junior says it should be a look of amazement to really get the character of what the coach was trying to show him.

During the next measure in the music, the guy will pivot in place while lowering back down to be on his full foot and then step away, lunging out on his right leg this time. The lady uses that time to do a weird body-rolling move as she stands up slowly and then takes the guys proffered left hand. In the next measure she will step toward the guy on the second beat, then he will lead her to do a slow Spiral Turn over the next two beats. At the end the guy needs to shift his weight to his left leg and  lowered down his left arm to be near his waist, holding it strong there.

The lady will use that arm to press down on to help her create a line where she lifts her left arm over her head and stretches her left side as long as possible. It’s easier for the lady to do if she has something to press against, hence the guy keeping his arm strong. After a brief hold in this line, the lady will step forward out of it and the guys will take a step forward on their right leg. We’ll lead the lady to do kind of a Three-Step Turn where we release her hands, and she’ll move away from us and lunge out on her right leg perpendicular to the guy, turning her head to look over her left shoulder at us. We’ll hold in place until the very end of the third beat in the measure and take two steps forward to stand on both legs near her as she looks at us.

That’s where the new section ended. It’s kind of a neat looking piece, and I’m sure my picture doesn’t really show enough for you to get a true feel for what it looks like. Just trust me that it’s actually cooler than I can describe, even if it is complicated.

The things we did this week in Standard Technique class were a bit easier to explain than that Rumba choreography, since all the pieces can be found in the syllabus book. We got to work on Quickstep that evening at my suggestion – over the last few weeks before class started, I had heard Lord Junior mention that he thought we hadn’t looked at Quickstep in a while. Since no one else who came to class that night asked to work on anything specific, I threw that out as a suggestion, and everyone else just shrugged and went along with me. Hooray for me winning through other people’s apathy!

Lord Junior started off class by talking about the V6 figure from the Silver Quickstep syllabus. The by-the-book figure is actually just a combination of two different figures that you’ve probably seen before – a Backward Lock and an Outside Change – starting off heading toward diagonal center and finishing heading toward diagonal wall. That’s what gives it the ‘V’ shape that the figure is known for. I can’t find anything written about what the ‘6’ stands for in the name though… that part’s a mystery.

We started off simply enough by doing a prep step into a Half Natural Turn, then a Natural Spin Turn that went immediately into the V6. The last step of the Natural Spin Turn is used as the first step of the V6 in this configuration. At the end of the V6 we added on a Forward Lock and another Half Natural Turn to finish. This gave us the basic outline of what Lord Junior wanted to work with us on that evening.

Once we all had that down, Lord Junior wanted us to upgrade the V6 so that it used the alternate ending that you see done a lot which replaces the Outside Change portion of the figure with a Six Quick Run from the Gold Quickstep syllabus. This speeds up the ending portion, and you really don’t get a chance to take a slower step and breathe until you finish and get to the Half Natural Turn. The trick to keeping this alteration successful is to make sure and watch your rise and fall – you basically start to rise up at the end of step four of the V6 and then stay up the whole time until the end of the Six Quick Run.

Now, you may have noticed that I specifically kept saying ‘Half Natural Turn’ earlier. That was completely intentional, because once we finished upgrading the V6 to its alternate ending, Lord Junior wanted to have us change the Half Natural Turn after it into a full Natural Turn. Now, in Quickstep a full Natural Turn is not like what you would see in the Waltz or Viennese Waltz, where it is just two Half Natural Turns in a row. The second half of a Quickstep Natural Turn involves a Heel Pull action for the lead as you step to the side, then you pass your feet as you step forward onto your left leg.

Supposedly the Heel Pull action allows you to move faster than you would if you had taken three normal steps without the Heel Pull, but I’m not convinced about that. Still, Lord Junior warned us that we likely wouldn’t see people doing this full figure very often. In fact, he admitted that he had personally never seen this version of the figure until he was studying for his certification exam in International Standard a few years ago. If you read through the Bronze syllabus for Quickstep, this is the actual figure you’ll find, so don’t be surprised if you see it there now that I’ve told you!

After we got through the Natural Turn, we added on a Forward Lock that headed toward diagonal center. This set us up for the last step that Lord Junior wanted to show us that night, which was another Silver-level figure called the Fishtail. This is one that I had never seen before, but it wasn’t too rough to get through. Basically it is a forward check on the right leg toward diagonal center, then you step backward and then to the side to change direction so that you can finish with a Forward Lock toward diagonal wall.

There was one time that I messed up this figure pretty bad that night because when I tried to do the check on my right foot but my foot kept sliding forward, and it took some effort for me to get it to stop sliding and then to try to change direction. The mistake put me way off time with the music that was playing. Luckily Lord Junior didn’t notice, and my partner just laughed about it, so it wasn’t too embarrassing for me. I guess I should have brushed my shoes better before class started or something.

That’s all I did this week! So, I have to ask… are you getting excited? We are getting so close to Halloween! I am planning to do some finishing touches to my costume this weekend so that it is all ready to go for next weekend. I know that I will have full range of motion for dancing when in my costume, but this one does have a mask with it so I am a little worried that it may get to be hot as the evening wears on. Still, this costume makes me laugh a lot, so I am excited to wear it even with the risk of being warm.

Do you have your costume all ready? I hope so! Halloween is my favorite time of the dance holiday season! What kind of crazy creatures will I get to see people dress up as this year? I can’t wait to find out!