To Make It A Place Worth Fighting For

Kind of a quiet dance week this week for me. There only ended up being two things of note that I feel I need to write down. Can I keep this post from growing to be verbose? We’ll have to see…

The only dance-related thing that I did on Saturday was to meet up with Sparkledancer and Lord Dormamu for a coaching session. We continued to look at the Waltz this week, picking up right where we left off last time. He had us run through our routine for him once with music playing, then brought us right up in front of the mirrors so he could watch us go through a few repetitions of the exercises that he gave us to work on last weekend. After about five minutes of that, he stopped us so that he could give us his impression of how our practice had gone over the last week.

Overall he said that he was much happier, and he was definitely seeing an improvement. He called it a ‘30%’ improvement, but when he throws out numbers like that while smiling, I can’t entirely tell whether he’s just making up numbers to be funny or if he’s being serious. Specifically he said that the actions that we were doing from beats one to two and two to three were much more in line with what he was looking for, but the action from beat three to the next beat one still needs work. Based on that assessment, you would think that we were doing 66.67% better, right? I mean, that’s how the math works in my head…

I brought up the fact that it would make sense that the actions from beats one to two and two to three would show improvement, since the exercises we had been given really focused on those actions. The one exercise I was thinking about which would specifically help was the exercise where we would extend the box step to a six count, taking steps one and two with normal timing and then closing our feet together slowly over the remaining four beats. So, I asked, were there any exercises that we could do which would help with the action where we still needed work?

As it turns out, there is… sort of. It’s really the same exercise, but you just change the timing of the steps. Rather than slowing down after the first two steps to practice the action of closing your feet, you could take the second and third step of the box at normal timing and slow down the next step for a four count to focus on the transition of lowering into the next box step. So now, in addition to the exercises we were already told to do, we have to add in an additional two minutes of working on the action between beats three and one. Can you feel my excitement about this?

I suppose, theoretically, you could also do the same idea and take the third step of the box and the first step of the next box in normal timing, slowing down the second step for a four count to work on the middle action. There is a variation available for everyone! Well, really there are only three variations, but you get my point, right? Sigh… math again…

Once we got through looking over the practice exercises, we turned to looking at things in the actual routine that needed some attention. One concept in particular that Lord Dormamu spent some time discussing with Sparkledancer was the amount of volume she was creating while in frame… or actually the lack of volume. Sparkledancer was telling him that while he was having her to do all this work on how her legs were moving, she was totally forgetting to think about anything else, which is why the volume appeared to be decreased as we were dancing.

Lord Dormamu told her that he was more concerned during our sessions with him with how our leg action was progressing, since that was the key to bringing our Waltz up to the next level. His advice to her was (for the time being) to focus on practicing the leg action while working with him, and to focus on her volume and position while working with Lady Tella. Eventually the two techniques will have to be put together, obviously, but for the time being he wanted to make her life a bit easier. He’s such a nice guy, isn’t he?

There were a couple of figures that he wanted to cover at in particular that day based on what he saw during our initial dance-through. The first one was the Hesitation Change in the first corner… again. It seems like there are so many things about this simple figure that Lord Dormamu really wants to be different, doesn’t it? This time he told me that he didn’t like the way that the backward step I take from the Natural Turn right beforehand looked. We went through a number of changes to try and fix it, with me dancing with Sparkledancer, or by myself, or with him, as he assessed what was going on and tried to think of a way to make me look the way he wanted. The lowering action was what he decided was causing the problem – something about the way that I was lowering from the Natural Turn and going into the Hesitation Change seemed out of sorts.

We moved off the Hesitation Change for a little bit, but came back to it again later after he had some time to think. This time he asked me to try to just lower straight down before taking the step into the hesitation. This was a surprising request, because we have been working so hard over the last couple of weeks to make sure that none of the figures that we do are lowering straight down, but rather lowering while continuing to travel forward/backward (depending on the step). So I gave it a try, and apparently that did the trick.

He said that watching from the outside, the brief pause at the height of the Natural Turn and lowering straight down before taking the step into the Hesitation Change made the transition between the two look clean and precise finally. For the time being, he wants me to practice stopping and lowering like that between the two figures to work on control, and once that improves he’ll go back with me and start to reintroduce the lowering on an angle while moving aspect.

The other figure that we looked at quite a bit was the Whisk. For this particular figure, it wasn’t the steps themselves or any of the actions that he wanted to have me adjust, but rather the angle. I had been coming out of the previous figure and generally aiming the Whisk straight down the line of dance for pretty much the entire time I’ve ever done this routine. Lord Dormamu wants to change the angles so that I finish the previous figure facing diagonal wall, then take the first two steps of the Whisk heading towards diagonal wall, rotate to Promenade Position on the small step that crosses behind while pointing my Promenade toward diagonal wall, and continue to travel in the Promenade Chasse that follows in that same direction.

Now this made a lot of things weird. First of all, as I said I had been taking the Whisk down the line of dance for forever, so trying to turn it like this fights against all of the muscle memory that I have built up in all of that time. Secondly, the amount of rotation when I move my upper body to Promenade Position that is required to get Sparkledancer into her correct placement is a lot, and my upper body is not particularly happy with rotating that much. That’s something I can fight through with practice, but it’s not the most pleasant thing to do.

The biggest issue with this change though is that now we are traveling straight toward the wall. With the amount of movement that we usually get during the Whisk and the Promenade Chasse attached, we just ran out of space the first few times we tried this. That was an easy enough fix while working specifically on this figure because we could just back up away from the wall far enough to fit everything in. Easy-peasy, right?

But (I’m sure you saw this coming), when attaching the Whisk heading in this new direction to the rest of the routine, we were still too close to the wall. The Whisk is a part of the first short wall in the routine, and with the way that the short wall was built, most everything travels laterally down the line of dance. Even when I rotated the three figures prior to the Whisk so that they were moving solely toward diagonal center, I still couldn’t create quite enough room to fit in the Whisk and Promenade Chasse heading toward diagonal wall. You know, because the wall was in the way and whatnot. Silly wall!

Am I the only person you know who talks about issues with moving too much?

This means that, in order to make this change fit, I have to remember to purposefully short my steps a bit on the first long wall so that when I finish the first corner, I am starting the first short wall farther away from the edge. That’s really the only way I am going to be able to fit everything in properly. This was something that felt OK while we were working on things in the Endless Dance Hall. The floor there is huge, so cutting down six to eight feet on a long wall doesn’t make my steps look short. But what happens when I have to try to do this on a much smaller floor? I’m afraid that it will make my steps look teeny-tiny!
Who knew that being able to move so much while dancing would cause me so many issues?

Latin Technique class on Monday night was entertaining, but full of a bunch of stuff that made me feel like a terrible dancer. Those are two wildly conflicting emotions, I know, but that’s how the class went for me. When I first got to class, I thought that I was in for a rough night since there were five ladies sitting there, waiting for class to start, and no other men besides Lord Junior. A few minutes before class, he walked by all of us and said that we would be working on Samba that night, so that was red flag number one for me. Of all the Latin dances, Samba is my least favorite. For some reason I always feel wildly uncoordinated while dancing Samba, and I know I doesn’t look very Samba-esque while doing it either.

As Lord Junior continued to talk with us, he said that he was considering doing a bunch of stuff in Shadow Position, which would give him and I a little bit of a break since there were so many ladies to dance with. However, there was supposedly one more person who had mentioned coming to class that night, so he wanted to give them time to show up. Rather than get started early we all just hung out and talked amongst ourselves.

When the front door did finally open, it actually ended up being more than just one person who showed up… it was actually three. And they weren’t ladies, but girls, each of them being probably twelve years old or less. I’m terrible at guessing ages, but I know that they were all super young. These girls were sisters, and the youngest of them was barely half my height, if that helps put it into context. I felt like a giant standing near her, and I knew there was no way I would be able to dance in Shadow Position with someone that small. It would have been easier for me to just hold the tiny girl off the floor by her arms in front of me and dance! Luckily, Lord Junior had only been expecting the tallest of the sisters to show up, so he modified his plans for the night and threw out all of the partner work in favor of having us all work on exercises by ourselves to accommodate. Whew!

Totally would have worked perfectly.

Since there were so many of us now, Lord Junior had us line up in three lines so that we could travel down the floor in sets. The first section of figures that he gave us to work on was two Cruzados Walks, two syncopated Locks, and then two more Cruzados Walks, which should fill an eight-count bar of music. The first couple of times I went down the floor, Lord Junior made a point of telling me that I looked really good… if I was dancing Foxtrot. My Rhythm Bounce action left quite a bit to be desired. I will freely admit that. What can I say, I only compete in International Standard, and we don’t do crazy bouncing actions with the hips and core in any of the figures I’ve seen so far!

Adding on to that section of figures, the next eight-count bar of music was one more Cruzados Walk (to put you on the right leg), then repeating Samba Locks for the next three-count. At the end you need to pull your right leg in quickly because you go right from moving forward in the Samba Locks to moving backward for a couple of Batucadas. The Batucadas were pretty easy for everyone to get through while we were doing the figures slowly, but the transition between the Samba Locks and the Batucadas threw a lot of the ladies off. When we sped up the pace, you could collect your right leg to the left before taking the step backward, but personally I found that action just took too long, and then I was off time. I found it worked best to just bring my right leg up close to my left leg where it would go for the first step of the Batucada and then just transfer my weight on beat five. That worked best for me – your mileage may vary, of course.

For the last few minutes of class, to give us a break from struggling with the Batucada movements at tempo, Lord Junior had us all work on Body Rolls. I have only ever gone through the Body Roll action a few times in my life. I can’t say that I’m all that good at it… but I’m not as terrible as you might think. With all the exercise I do regularly, I have a lot of strength and control over the muscles in my core, so bending myself like I was being asked to for a Body Roll wasn’t so bad. Granted, we didn’t do this action very fast, so things could change if I was told to try it out to the tempo of your average Samba, but I could probably do it to a Rumba song and not look terrible. 😉

I do lack some of the flexibility in the middle part of my back when compared to all of the women that were in class with me that night (especially those really young girls, who could bend like they had no spines), but I wasn’t as bad as you might think. It’s really twisting actions where my muscularity holds me back the most, and there is no twisting in a Body Roll so I was able to get through it pretty OK. Yeah, pretty OK indeed.

Maybe having so many ladies in class on Monday night wore Lord Junior out, because Standard Technique class was cancelled on Wednesday. You would think that I would have used that extra time that I wasn’t expecting to have to do something productive. I was actually going to get some studying done for some new material I am trying to learn for work, but as soon as I sat down on the couch my cat came and curled up in my lap, and then I couldn’t reach my computer without disturbing her, so I ended up just sitting there quietly for over an hour letting her rest on me. Silly cat…

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Making My Entrance Again With My Usual Flair

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Said My Name Is Called Disturbance

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

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

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

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

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

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

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

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

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

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

*    *    *

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Blind Labors The Blind And I Am Unwilling To Uncover My Eyes

Last Saturday many of the Professionals that work in the Dance Kingdom were off at some competition, so there was relatively little going on. All of the people I normally work with on Saturdays were there, so I had only one item on my schedule. Of course, that one thing was still enough to make me nervous, since I was planning to spend some time working with the Princess. As I mentioned last week, she was one of the judges for the last competition I participated in, and she offered to go over her thoughts on how Sparkledancer and I did with us. As it turned out, I didn’t need to be so nervous about meeting with her, since what she spent the majority of the time talking about was Sparkledancer. That didn’t mean that I got off scot-free that afternoon, just that most of the notes I made for our session don’t directly relate to me.

The Princess wanted to talk about our Waltz and Foxtrot, but since the ideas that she wanted to relay to us were the same for both dance styles we spent the entire time working on Waltz that day. She wanted to start us off just by getting us into frame for a few minutes so that she could talk about how we looked. There was praise for Sparkledancer on the changes that she has been making while working with Lady Tella – the Princess clearly sees that Sparkledancer is on the right track to be awesome. She recommended that when we take frame, Sparkledancer needs to get comfortable taking the position right away. I believe she described it as being “specific and deliberate” when we come together. Right now, since we have been making changes there are a few moments of minor adjustments being made before we begin.

She also wanted to see Sparkledancer be less centered on my body and even more offset to my right to start with, almost wrapping around my right hip. But not actually wrapping around my right hip, since she said that Sparkledancer’s right hip should be closing to me. To help with this, the Princess told me that I need to watch my own right elbow and make sure that it is coming forward in front of my body as I put my right arm around my partner. During the competition she said that it looked like my right elbow was in line with my chest, which tends to pull Sparkledancer toward me and kill the volume we are trying to create. If I had to guess why I was doing that, I think that I was trying so hard to pull my elbows apart and expand my chest to create more of a presence that it was moving my right arm into the wrong place in the process. Whoops.

Now that we were in a position that was to the Princess’ liking, we began moving while applying those notes. She started by just having me walk through the first couple of opening steps. I guess during the competition, there were a couple of times in some of the heats where she saw me ‘stutter’ (as she called it), and she wanted to see if I would do it again while she was specifically watching for it. Of course, at that point I didn’t, probably  because I was so worried about doing it again and embarrassing myself that I focused specifically on not doing anything weird, so she couldn’t help me figure out why I did it during the competition and fix it. Ah well, maybe next time…

Going into the Natural Turn next, she wanted to see me stay down lower through the first step of the figure and into the second step, only starting to rise as I actually take the second step. On top of that, she wanted to see Sparkledancer keep her chest more towards me and the upper part of her left shoulder out as we reach the highest rise in the Natural Turn. This should help create a better shape for that momentary hold we do before we begin to lower for the next figure.

Next up we have the Underturned Natural Spin Turn. During this figure, she told Sparkledancer to initiate the turn by keeping her right shoulder down and pulling her left elbow up and around. On top of that, the Princess told me to make the shaping more distinct by bringing my right side up further as we go through the turn, then to neutralize as we come out and swap into a left side sway as we go into the next Reverse Turn. The shaping was kind of there in the competition, but I need to work at it more to make sure that it looks like I am actually doing the sway on purpose.

From there, we talked about the Double Reverse Spin a little. The Princess recommended that Sparkledancer maintain the left position longer, and to make sure that her right hip doesn’t open away from me throughout the figure. That led us right into the Progressive Chasse to the Right, where Sparkledancer was asked to pull her left elbow further to the left, and also create more volume. While we are traveling straight down the line of dance in a Waltz, having more volume is even more important than it is during rotational figures, since the judges who are standing behind our line of travel can really evaluate how the volume looks.

The last two figures that we managed to get through was the Outside Change and the Chasse from Promenade Position. During the Outside Change, the Princess asked Sparkledancer to hold her position longer before the transition into Promenade Position. This was especially for the position of her head. Once she arrived in Promenade Position, Sparkledancer was told to maintain her pull to the left and slide her foot out, allowing her left foot to cross under her body before she closes back to normal dance frame.

As you can see, most of the notes that we talked about that day were for Sparkledancer, so hopefully they are helpful to other ladies out there. One point that I did take a few extra minutes after our lesson was over to ask the Princess about was the placement of my right hand. I noticed that whenever the Princess got into dance frame with me, she always slid herself up my right arm so that my fingertips were almost crossing over her spine to her right side. I didn’t know if this was because my arm was in a different position with her than it usually is with Sparkledancer (the Princess is several inches shorter) or if I was actually holding Sparkledancer wrong, so I thought I should just ask while she was standing next to me.

Turns out that I was doing it wrong, as you probably guessed. I was placing my hand on the back of Sparkledancer’s shoulder, which was forcing me to try to control her with the hand itself. If I allowed it to come around Sparkledancer more so that Sparkledancer’s actually pulling herself left into my wrist/forearm instead, then the control point becomes the lower half of my arm rather than my hand. Taking all of the extra joints out of the equation will (in theory) make maneuvering my partner easier. It will take a bit to get used to the different feeling on my arm until I am able to do that easily, but with time hopefully that turns out to be the case for me.

Last Sunday afternoon I had a lesson scheduled with Lord Dormamu, but he ended up having to stay at the competition he was at on Saturday for an extra day, so he wasn’t able to make it. Rather than leave Sparkledancer and I with extra time to practice, Lord Dormamu had talked to Lady Tella and convinced her to work with us (i.e. mostly with Sparkledancer) that afternoon instead.

While this was a nice thing for him to arrange for us, it was kind of a mean thing to ask Lady Tella to do. See, she had been competing on Saturday at the same competition that Lord Dormamu was attending. When she and her professional partner Lord Bread finished up at the competition, they had to drive all the way back home from the competition so that she could be here for our lesson. From what she told us, she had only gotten home around 05:00 that morning, then crashed for a few hours before getting up to come to the Endless Dance Hall and work with Sparkledancer and I. Poor girl!

The first thing that we talked about with Lady Tella was working with the Princess the day before so that she had a basic idea about what the Princess and Sparkledancer discussed. After that, much of the time was spent with Lady Tella and Sparkledancer working on her position as we moved around, mostly in Waltz but we switched over to a little Foxtrot near the end. I got even fewer notes for myself from what was talked about in this lesson than I got from the Princess. It’s all good though. Dancing International Standard requires two people, so I’m happy to let Sparkledancer be the focus of the attention for a change.

There was one interesting point that Lady Tella asked of me that I am trying to figure out how to work into what I do. At several specific points during the Waltz routine she started asking me to allow the figure to ‘breathe’ much like she has been asking of Sparkledancer. Obviously I can’t shape in nearly the same way that Sparkledancer can, or else I might break our connection and cause us to get into trouble, but she wanted to see me expand up and back just a little more to try to make a visible difference.

The two points where she really wanted me to do this noticeably during what we were working on last Sunday were during the two chasse figures along the long wall (Progressive Chasse to Right and the Chasse from Promenade Position), and the Hesitation Change in the first corner. During those figures she also wanted to see Sparkledancer try to open up more away from me, so having me also open slightly at the same time should give the illusion of us having much more volume during those moments. I’m sure there are other places that we will come across where the recommendation will be for Sparkledancer to try to create more volume, so I should watch for those points and see if it is also an appropriate spot for me to try to do the same. If there is a 1:1 correlation, then I can start adding my own action in without being asked.

And that was all the dancing I did this past weekend! Hooray to me for mixing things up a little! The next dance related thing that I got into was Latin Technique class on Monday night. Only a few of us managed to gather out at the Electric Dance Hall for class that night. Supposedly there was some big event that was happening in the area on Wednesday that several people who normally attend Latin Technique were out preparing for. I guess I didn’t get the memo on that.

But for those of us who were still dedicated, we got to work on some Samba that night. For a bit of warm-up, Lord Junior was just going to have us dance through the Samba Line Dance that is popular in this part of the Dance Kingdom, but one of the ladies in class told him that she had never done the Samba Line Dance before, so the first twenty minutes of class turned into a crash course on how to do the line dance, and then how to do a few variations on the normal figures of the line dance to make yourself look cooler than everyone else near you.

The normal version of the line dance that I learned long ago has you doing four repetitions of a bunch of figures. You start out with four of the Basic Movements, then go into four Whisks, then four Traveling Bota Fogos Forward, and then finally four curved Voltas to the right that allow you to change which direction you are facing, finishing with four Voltas to the left that do not curve. Once you finish the last Voltas and are facing the new wall, you start all over from the top. I’m sure you’ve probably seen all of these figures somewhere if you’ve ever done Samba before, so you could use this information to give things a try!

Once we finished up working on the Samba Line Dance, Lord Junior wanted to have us go through another figure that the high-level Latin coach he had come to the Electric Dance Hall a couple of weekends ago spent quite a bit of time working through with him: the Promenade and Counter Promenade Runs. One of the points that the coach gave to Lord Junior which he found very interesting was the way she preferred to hold her arm while in this figure. The big problem that a lot of people run into is trying to keep their body twisted enough so that their back leg still has the foot turned out when they land during the Promenade and Counter Promenade Runs. If you don’t get it right, you end up with your foot in the wrong position, which will get you marked down during a competition.

The coach recommended to Lord Junior that he change the way he held his arm so that it was out in front of him rather than opened up to the side. Holding your arm in this manner helps to counter balance you so that turning out your foot in the back is less awkward. This subtle change really does make a difference, as long as you remember to actually hold your arm forward instead of opening it out to your side. I will admit to forgetting to make the change a few times as we practiced the figures that night.

As for the actual figures that we did, Lord Junior had us start off with the guys standing on their left leg, right leg pointed behind them, and the ladies right in front of them holding our left hand with their weight on the right leg and the left one pointed forward. From there we went right into the Promenade and Counter Promenade runs, with the guys taking three steps forward to start while the ladies turned to open up out to our right side. We did two more rounds where first the guys crossed over, then the ladies, ending up with the guys on the left side once again. Next we did a Ronde Whisk, which is basically exactly like it sounds. As you take a side step to start the Whisk, you then rotate slightly and do a Ronde with your free leg until it crosses behind the other and then do the Samba bounce action.

We rotated ourselves 180 in the process of doing the Ronde Whisk, so now we were facing against line of dance. Next we led the lady to do a Three-Step Turn across our bodies as we shifted weight between our legs. Catching her arm left arm as she went by, we got her to strike a line to the right at the end as we lunged out to our left. After that we led her to do another Three-Step Turn back toward us while we just shifted weight again, finishing in Shadow Position. That’s where we stopped for the night since we ran out of time, but Lord Junior said he probably would have had us do some kind of Samba Roll action from there if we had had more time.

Next up, Standard Technique class on Wednesday night. The class ended up being about Waltz again, because Lord Junior had seen a video of a figure that he had never done before for Waltz that he wanted to try out with some students to see how it went. That figure happened to be the Chasse Roll to Left, which is an Open-level figure for those of you who may be interested in fitting it into your own body of knowledge. Lord Junior told us that he has used the Chasse Roll to Right lots of times in routines with his students, but he had just never considered seeing if a Left version existed before until he stumbled upon it this week.

Before we got into that though, Lord Junior had us all back doing the warm-up exercise that we had done last week, where you do box steps over a nine count. I don’t know why people think that this exercise is overly difficult. Sure, it will put pressure on your inner thigh muscles if you are pulling your legs together properly, but it’s not that bad. I don’t think so, at least. The balance component shouldn’t really be an issue either because of how slow we were moving, but surprisingly others in class were complaining about that too.

Driving home after class, I started thinking about exercises that people could do to improve on the things they complain about that I seem to find simple. Maybe I should start toying with the idea of putting together a three-month workout regimen designed for ballroom dancers – something to help dancers get in shape for these sorts of exercises. I wonder if I could hand it over to some Professionals to have their students do and report back on the results. Hmm… something to think about if I find some extra time. I have nothing but free time, right? It should be no problem for me to sit down and design and document something like that!

Anyway… once we were all warmed up, we were given a short progression of figures to work on. To get things rolling, we started off with a prep step into a Natural Turn, and then added on a basic Natural Spin Turn. Coming out of the Natural Spin Turn set us up for the figure that Lord Junior wanted to work on with us, the Chasse Roll to Left, which looks a lot like a Curved Chasse to the Left with a Slip Pivot at the end if you look it up for yourselves. Once we finished the Slip Pivot, we led the ladies into a Oversway.

One of the ladies asked a question about the Oversway, which got us talking about that for a few minutes. Many of us had done a Throwaway Oversway before, but here was just the Oversway without any of the Throwaway. I had to ask whether that meant that you could do just the Throwaway without any of the Oversway as well. Lord Junior had to stop and think about my question for a minute, and pretended to dance through it a few times. He told me that you could probably do it, and that it was likely some super-high level Professional couple probably has at some point, but he thinks it feels weird to do just the Throwaway without the Oversway so he personally wouldn’t recommend trying it.

To come out of the Oversway we went back to the warm-up exercise that we had done and slowly dragged our left foot to our right (or right to left for the ladies) over two beats while rising up and rotating into Promenade Position, taking our first side step in Promenade Position on beat three. From there, to show us the differences in the two figures, he also had us do a Chasse Roll to Right with a Oversway attached at the end. This figure confused me with its name a little, because the footwork we did for the Lead part was more like a Curved Lock instead of a Chasse, but the Follow’s part looked more like a Progressive Chasse to Right, so I guess that’s what makes it work.

Getting out of this Oversway involved taking a small step to the side with your left foot and rising up for two beats and then dropping the right foot behind you for a Slip Pivot on the third, and from there we went into a basic Progressive Chasse to Right to finish. You want to be careful when you take the side step as you close. If you come around the lady too much, she may think that you are doing a Corte-like action and rotate her body improperly, which could cause all sorts of fun problems. I may know this because I may have accidentally done it… maybe. I’m not admitting that it was entirely my fault, but I may have messed it up once or twice. May. In May. 😉

That’s all I have got for this week. This coming weekend I am not entirely sure what I will be getting into quite yet. There is a big party being thrown by my Royal Dance Court group on Saturday, so much of my day had to be reserved for setting up for that event. I personally don’t think that the setup will take super long, so I may have tons of free time once it is finished. But because I reserved the afternoon for this, everything else I do on Saturdays got bumped, and I mistakenly never rescheduled those items. So… we’ll have to see what happens! Maybe I will have a ton of extra practice time! There’s a lot of stuff I should be working on perfecting, so it’s not like that is a terrible idea. I’ll let you know next week how things go!

Then again, if nothing else comes up, I could always spend that extra time drawing up plans for my dance workout program, right?