I’m So Powerful, I Don’t Need Batteries To Play

Oh man, a second post this week? I must have all sorts of free time if I am able to write so much! Either that or I did something dance-related that I need to remember in the future. I’ll give you a little hint: it’s the latter.

Let’s start off chronologically though, since that works best for my brain when I have to review things later. The first thing I did that is worth remembering was my lesson with Sparkledancer and Sir Steven on Saturday afternoon. We took our time together to work on continuing to try to improve our dancing based on the review notes that we got back from the judges the weekend prior. This week we focused exclusively on Foxtrot. The specific notes that Sir Steven wanted to have us work on were the two that read “Knees need to flex more when receiving the weight on the slow; Slows need to be fuller to show contrast from quicks.”

We went about this in a weird manner. I think, now that I have had a few days to digest what was going on, that I kind of understand what Sir Steven was trying to get Sparkledancer and I to do, but I was really confused by the method during our time together. Parts of it just felt wrong, and went counter to a lot of the techniques for moving in Foxtrot that I have been working on for so long, which may have been what brought on most of my confusion.

What we were doing saw us just using a simple Feather and Three Step combination while we took steps. Sir Steven wanted us to work on really driving as we took the first step, and then taking the last two steps of the figures with straight legs. Yup, you read that right, straight legs, like in a Latin dance. Obviously practicing the steps like this slowly will easily fix the issue of taking the steps with my knees bent, which makes it look like I never fully straighten my legs while moving, but how we were doing it also added significant rise to the figure, which is something I was told to never do. Remember in the past when I told you about Lord Dormamu’s theory of Foxtrot, described as a body of water? Yeah, adding ‘waves’ to my Foxtrot completely goes against that theory.

The whole lesson was spent pretty much like this, first using slow Feather and Three Step combinations, then moving up to slowly walking through our routine and applying the same action. Again, it felt weird to me, but Sir Steven thought that it helped by the time we were near completed for the day. As my luck would have it, as we were nearing the end of our lesson, the Princess arrived at the Fancy Dance Hall. She had a coaching session scheduled with a client at that location Saturday afternoon. While she was waiting for her client to arrive, Sir Steven asked her if she would want to watch Sparkledancer and I do our Foxtrot routine, to see if she could see improvements.

So we danced for her, then we had to stop and show her the notes from the judges that we were actually working on, then we had to dance for her again once she was on the same page. Her take on the proper approach in order to fix our issues was completely different from Sir Steven’s take. The Princess told me that I was basically off time when taking the slow steps in each figure, and that is what was causing all of the issues I was having. She had actually sat and watched a private coaching session with that world champion judge guy and a different male student of the Fancy Dance Hall where the judge tried to help the student fix the same problem she saw me doing.

To make the explanation easier, it turns out she had  grabbed a video of the world champion guy and this student dancing the same steps in Foxtrot side-by-side, and she forwarded the video to me so that I could have a copy to refer to. Watching the two men dance the same figures was enlightening. Though the music is playing and they start each figure on the same beat, it looks like the male student is off time compared to the world champion. On his slow steps in each figure, the judge always takes the weight onto his moving leg on beat two, whereas I (and the male student in the video) tend to transfer from leg to leg on beat one, so it looks like we are rushing even if the next two steps are on time.

The Princess told me that if I were to work on fixing my timing to look more like the world champion guy in the video, that would help fix my issues. For one, it would definitely improve the timing contrast between the slow and quick steps in each figure. But the best way to really make sure that I transfer weight later in each slow is to continue to stretch through my legs longer, which means that likely I will take bigger steps, fully extending my legs in the process, and since the legs are spread farther I will have to really pull my legs together, which will require flexing my knees, at the end of the slow step.

So… no problem, right? I should be able to fix that easily! Sigh… I just know that this is going to probably take me hours of repetition with each figure in my routine, likely danced with really slow music playing to force me to slow down and think about every single step. Sounds like soooo much fun. 😛

I finally managed to meet up with my coach Lord Dormamu this past Saturday as well. He’s been out either competing or running competitions the last several weekends in a row, so the last time I saw him was the first of last month, if I remember correctly. When we got together, we had a lot of things to talk about because of all the stuff that has happened over the prior three weeks.

The first thing that he wanted to sit and review with Sparkledancer and I were the feedback notes that we received from the judges, the same notes I had just shown to the Princess. In general, he seemed rather pleased with what he saw. There weren’t any notes that any of the judges had written that Lord Dormamu wasn’t already working on with us, and he was happy with the notes that we got about how we were fun to watch and had charisma. As Lord Dormamu put it, there is no way that he could teach either Sparkledancer or I to dance with charisma, that is something you either have or you don’t, so he was delighted that the judges thought we had it.

The next major thing we had to discuss was what Sparkledancer and I should be working toward next. It’s always nice to have something on the calendar to work toward, so we talked about what competitions that each of us knew were in the near future in the Dance Kingdom. We settled on one that is coming up around the end of April as our next event, and even talked about several that were coming up shortly after that which we should seriously consider. The one in April I’m feeling fairly good about, since it’s less than an hour away and it’s on a weekend, so there aren’t any conflicts to consider. Some of the others involve a bit more travel, so Sparkledancer and I will have to discuss those to see if we can both make it work with our work schedules.

Business out of the way, we started to look at dancing, and since we had the comments from the judges handy, Lord Dormamu had us start right at the top of the list with Waltz and the first two notes I wrote out last week (More rise and fall actions need developing; More lowering and rising). This was another one of those instances where Lord Dormamu thought of a different way to explain the mechanics of a certain dance technique to me so that I could understand how to apply the concept more easily.

Rising is the easy part, and he didn’t think that I needed to work on that at all this past weekend. It was actually the lowering action that I was doing when Sparkledancer and I demonstrated our Waltz for him that he thought needed the work. Over the years, I was taught by several people that when lowering, I should be bending my standing leg kind of like I was doing a single-leg squat (i.e. going straight down). Doing things in this manner does give the illusion of me lowering, but it also kills my movement in the process. If he were to let us advance to higher-level figures where we bring our feet together less often, this would become very problematic.

What he actually wants to see when I lower is my knees to come forward without moving my foot/feet, to the point where I would need to lift my heels off the ground. I got taken over to a wall to practice this action. Standing with my arms out in front of me on the wall, I was told to bring my knees forward and bend my elbows to alloy my body to move toward the wall. This is the feeling that lowering in the Waltz should give me every time I do it

When moving forward, this action will have me driving my body into my partner before even moving my feet. If I am going backward, the forward drive from my partner is a definite signal that I need to be preparing my leg backward to take the next step, because if I don’t then she just runs into me. And my body is fairly solid, so if I make my partner run into me, it’s probably going to hurt. Promenade Position is obviously a little different. If you rotate to Promenade Position properly by turning your nose and toes, the falling action will have both partners’ knees moving forward in the same direction.

We also talked briefly about two other points on the list (Beautiful closing action on the natural turn. More consistent with this; Closing action in natural turn could be more precise). When we danced through the routine for Lord Dormamu, he thought that our Natural Turns looked really good, but he wasn’t at the competition we did to see what the judges saw that day. He assumed they were talking about us closing our feet together with one foot being in front of the other, like you should see in Tango, but not in Waltz.

His advice to make our closing action on the Natural Turn (and any other place where we close our feet together) more precise was to not think about bringing our feet together, but just to think about bringing the toes of our feet together. For most people who aren’t pigeon toed, they can’t bring their toes together without the rest of their feet being together without a lot of difficulty. According to him, if that was really the issue the judges were referring to, focusing on just that small change should fix the precision issue pretty quickly.

Class on Monday night was pretty small, with only four of us showing up to attend Latin Technique. Even though that meant my vote counted for 25% of the total, I still got outvoted and we worked on Samba that night. Yay……………. Can you feel my excitement? Does it come through the screen like a slap in the face? Probably not. I’m too nice to slap you!

The big competition that Lord Junior and his students are preparing for is this coming weekend, so in class we were reviewing some figures that Veep uses in her Silver Samba routine with Lord Junior. The pattern itself was pretty simple footwork-wise: we started off by doing three Reverse Turns, but later in class Lord Junior cut that down to just one so that he could prevent us from traveling so far away from him. After the last (or only) Reverse Turn we did two Back Rocks, then a Plait, which is essentially the Samba equivalent of Chicken Walks you would see in various Swing dance styles. After the Plait we finished by bringing the lady across us to get back into dance position during one final Reverse Turn.

There were a couple of tricky points for me specifically during that lesson. First off, the Back Rocks. These aren’t like the rocking action you see in Tango, which is essentially what I tried to do the first time through the figure. There is about a quarter-turn of rotation in the course of the Back Rock, and a little slide action with the front foot when you shift your hips forward. So it’s actually like you step back with an 8th of a turn rotation and shift your hips back, slide your other foot forward and to the outside a little to do another 8th of a turn as you shift your hips forward, and then shift your hips back over the standing leg again to prepare for the next figure. I kept wanting to pick my front foot up instead of sliding it for some reason, which was bad.

Next up, the Plait. The first couple of times through the figure, when I would take that delayed action step backward onto the ball of my foot with my heel off the ground, I was letting my knees track in the direction that my toes were pointed, mostly because that was comfortable for me. Lord Junior stopped me and made me redo the step action and bring my knee inward while twisting my foot so that I could step on the inside edge with my toes till pointed outward. Yikes. Luckily we were near a mirror, so I could walk through it a few times while watching to see what I was doing.

Finally, there was Ms. Possible. Yes, she was one of the tricky parts for me that night. I have real trouble dancing with Ms. Possible for some reason, and apparently it is always my fault. I know I’m not a Latin competitor, so obviously I have trouble with techniques I don’t use all the time, but as soon as she hears that I am doing something wrong, like with my knees in the Plait, that ends up being the whole reason that she can never do the figure successfully with me. Even after I step through things enough to fix what I was doing wrong. Even after Lord Junior stops her to tell her that she is doing parts of the figures wrong. Even though I can switch partners and dance through the same choreography with Veep with no trouble at all. Nope, Ms. Possible still blames me, loud enough for everyone in the studio to hear.

I wonder if that has anything to do with the fact that Sparkledancer and I have directly competed against her and her amateur partner a few times at this point, and we always do better than the two of them. Maybe she is holding a grudge against me for that? I don’t know. I like to believe I am nice, so I don’t know why she would treat me like that. The other guy in class Monday night had trouble the same choreography with her as well, but she never blamed him for it like she was doing with me. Hmm… what can I do to make her my friend again? I’ll have to think about this for a bit.

Standard Technique class was also used by Lord Junior to give Veep some extra practice on a section of one of her routines. Hopefully all the extra practice he worked in for her will result in awesome scores this weekend when she competes! The routine they had been working on in their lesson that day was her Open Waltz routine, and there were a couple of fairly challenging figures back-to-back that she needed to perfect.

The two figures in question were variations on more basic figures that people who have done International Waltz before have likely gone through. We started the set with a basic Chasse from Promenade Position just to build up some momentum to carry us through the turns at the end. I believe the technical name of the next figure would be ‘Overspin from a Quick Open Reverse Turn.’ You take an Open Reverse Turn (which is a Reverse Turn where you pass your feet at the end), add in an extra syncopated step at the beginning because you are starting on the wrong foot when finishing the Chasse From Promenade Position, then add a Reverse Pivot at the end.

Sounds pretty simple, right? Well, if that was too easy for you, we connected onto the end of that a Overspin from a Double Reverse Spin. Take the Double Reverse Spin, which is arguably the most difficult figure in the Bronze syllabus for Waltz (and Quickstep), and then add on a Reverse Pivot to the end of that too. That’s why I mentioned using the Chasse from Promenade Position to create momentum – the Chasse and the first couple of steps of the Quick Open Reverse Turn are the only traveling that you get to do. Once you start the first Reverse Pivot, and then for the entire Overspin from a Double Reverse Spin, you will barely cover any ground.

The big trick to getting all the turns at the end to work properly is for the ladies to keep their bodies (especially their heads) out to the left. You may have heard that advice once or twice if you are a lady that dances International Standard often. With the head weight on the outside of the circle as we try to turn, it helps us get all the way around. If the lady straightens up and puts her head over her feet, then it becomes a struggle to get the turns to rotate as much as they need to. As you can guess, each of the Reverse Pivots we did was supposed to rotate 180° to set us up for the next figure, so killing the rotation would also hurt whatever figure we would go into afterward.

I think it’s going to be a quiet weekend around the rest of the Dance Kingdom since so many people will be congregating at the Dance Death Arena for this weekend’s Pro/Am competition extravaganza. I thought about offering my time to help out behind the scenes as a volunteer for the event, but then I realized that if everyone was gone, I could get in a bunch of practice without having to share floorspace. The last couple of weeks the dance floors where I normally practice have been filled with people taking extra lessons to get ready for this competition, so I have had to keep my own practice contained, or only work on small sections to avoid running into anyone.

If you are competing this weekend, good luck! I hope that you manage to kick some names and take some ass, or however that saying normally goes. I’ll give you a high-five for every heat that you win if you happen to be nearby. My arms are only so long, so I have a limited range of where my high fives can be received from, but I’ll make an effort!


Banging On A Kettledrum Won’t Make You Notice Me

I know you’re probably mostly interested this week in hearing about the competition that I just finished, so I promise that I’ll talk about that first…

Last Saturday was a busy day for me. I spent most of the day out at the Dance Death Arena to compete. This was another one of those competitions where, as an amateur, once I paid the entry fee I could register to dance in as many different rounds as I wanted. I signed up to take part in the same rounds that I had done during the last competition I had gone to the Dance Death Arena for back in the beginning of October. That meant I would be doing four different two-dance rounds that day.

Also just like the last competition that I did at the Dance Death Arena, two of the rounds that I danced in had practically no competition, and the other two were super contested. This time around, Sparkledancer and I had only one person dancing against us in the low turnout rounds. With only two couples registered and a big floor, they put in dancers from a couple of other categories to make better use of the space (and the judge’s time).

The other two rounds I did though… those were nuts. When the rounds finally showed up on the board listing the numbers of all the competitors, I think there were twenty-four couples listed in one, and twenty in the other. Because the rounds were so big, they had been divided up into Quarter-Finals, Semi-Finals and Finals, and then the Quarter-Final round also had to be split in half to give the judges a chance to see and evaluate everyone properly.

One thing that they offered at this competition that I had not seen before, was the ability for people to sign up to dance in a category without a registered partner. There were a number of people registered that had a partner listing of “TBA” and it took me a bit to figure out what that was all about. These individuals weren’t allowed to dance solo, since no solo proficiency rounds were offered during this competition, but anyone who wanted to compete could find a partner just before taking the floor and dance if they wanted to.

President Porpoise was actually at this competition offering his services throughout the day for any ladies that needed a last-minute partner. Being the experienced dance host that he is, he thought it would be a nice way to volunteer to help out at the competition. The last competition I saw him volunteering at, he was stuck at a table checking people in. This job seemed to suit him much better. He’s such a presidential guy… this is why everyone votes for him.

Let’s get this out of the way before I get any farther – I did very well at the competition, even better than I did at the last competition I did at the Dance Death Arena. They gave out ribbons at this competition for everyone that was sixth place or above, so I got four ribbons to take home as a souvenir. Good job me!

I mention the ribbons because they are kind of funny… I noticed the day after the competition that half the ribbons that I received had the name of a completely different competition printed on the front of them. When I saw that, I took a picture and sent it over to Sparkledancer to show her. Turns out that three of the four ribbons she took home had the name of this other competition too! I can’t find any information online about this other competition, so I wonder if these are just recycled ribbons from an old competition that no longer exists? That struck me as funny for some reason.

There are a couple of interesting points of note I want to mention about this competition so I can reflect on them later. First off, a serious note about my scores: I managed to see the breakdown of how I scored with each judge. For the most part, all the judges rated Sparkledancer and I the same as the place that we got at the end of the day, which explains why we took home ribbons with those place numbers when we left. However, there was one judge that rated us last in every round we danced, which is a huge discrepancy when compared with all the other scores we got.

Since finding that out, I’ve been wracking my brain to try to figure out why this judge would do that. Did the judge just not like the way that I looked? Did I offend him in some way early on in the day, and thus he always rated me last? Was there something technical about my dancing that he thought I was doing wrong compared to everyone else?  It’s too bad I didn’t get a chance to ask the judge (if they would have allowed me to do that). I would have loved to know the reason why his marks were so different from all the other judges’ marks.

Funny note now: in between every few adult rounds they would do a round of junior dancers, which is always fun to watch. Many of these kids are barely half my height, and they are already way better than me at dancing. It makes me wish that I had started out at that age…

Anyway, I was in line waiting for one of my heats to begin when they had these little kids out doing a four dance International Latin final. They started out with a Cha-Cha, then did a Samba. Next up, the emcee announced that all of these young dancers would do “the dance of friendship.” When the DJ put on a Rumba, the whole crowd started to laugh. Apparently when you are that young, judges don’t expect to see any romance in your Rumba. Too funny. I’m going to start referring to Rumba as the dance of friendship whenever it comes up in conversation to see if anyone notices.

After driving back home, unpacking all my stuff from my car and sitting down momentarily to take a few deep breaths, I left the house again to head out to a dance party. My Royal Dance Court group was putting on an event that night, and though I was tired out from driving all over the place all day, I knew that I would be needed for a short while at this party.

I got to the venue a few minutes after the lesson we had planned had started. The big reason that I thought it would be good for me to be there was that my Royal Dance Court group had planned on bringing in someone to teach a lesson on American Viennese Waltz. Knowing that not many people feel comfortable with Viennese Waltz at first because they think it is so fast, I thought it would be prudent for me to jump into the lesson to help guide any ladies who were struggling through the footwork.

As I walked through the door and took a moment to assess the situation, I was pulled into a different problem that had nothing to do with the group class that was going on. The DJ was having trouble getting the equipment that they had brought in hooked up into the existing sound system at the venue. Apparently the DJ had played at this venue before and had no trouble, but that was because a specific cable had been plugged into the back of the sound system control box that would easily plug everything into the DJ’s setup. That cable as nowhere to be found.

Being male, and having plugged in enough stereo equipment in my youth to know a thing or two, I went over to see if I could help. I had already arrived late, I figured that if I could get the DJ to tell me what kind of cable was missing, I could run out and pick one up if needed. The problem with that plan was that the DJ couldn’t give me a good description of what the end of the cable looked like, so I had to wedge myself behind the stereo cabinet and look at all the inputs myself.

While back there, I found one cable lying along the floor that wasn’t plugged into anything. I moved it out of the way to avoid accidentally stepping on the cord and breaking it while I looked at the inputs. When I did that, the DJ reached down and picked it up. There was some sort of adapter on both ends of this cable, and when those were pulled off, it turned out to be the type input plug that was needed.

Once I was told that was what everyone had been looking for, I helped get the cable plugged into the back of the stereo system, since I was already wedged back there anyway. When the DJ plugged in the other end, we were able to test everything and verify that we were getting sound from the speakers. First crisis of the night averted! Hooray!

After extracting myself from behind the cabinet, I finally managed to get my dance shoes on. I surveyed the group class again. Sparkledancer had been watching the class while I was helping out with the sound system, and she pointed out to me that there were several ladies that didn’t have partners in the back corner of the room that were struggling with getting their footwork right.

The instructor was just going through the basic Reverse and Natural Turns at the moment, so I jumped in and worked with a couple of the ladies in practice frame to help them get their steps down. Prez told me later that she thought that I had the patience of a saint for working through the figures slowly with those ladies who were struggling.

Most of the lesson centered around just doing Reverse and Natural Turns and Change Steps, since those figures are pretty much a requirement for getting around the room. In the last ten minutes, the instructor went over a figure that would actually be considered American Viennese Waltz. After a half Reverse Turn, we would then do a Cross Body Lead with Underarm Turn, releasing the lady to open up into Side-by-Side Fan Position.

Next he had everyone do that classic move where you bring the lady back toward you so that you can meet up in the middle palm-to-palm – or you could rub noses, or kiss (if you were really good friends) – before opening back up to Side-by-Side Fan again. In place of the standard ending, the instructor had us do something more like Tango Swivels, where we would turn to face each other and point the right leg (left leg for the ladies) to the side, then step forward, collect the lady back into frame and point the left leg (right leg for ladies) to the side, and then we could start up with the Reverse Turns again.

This last piece seems fairly simple if you’ve done any American Viennese Waltz before… based on my description, you may be able to picture exactly what it looks like in your head. They are fairly common movements. However, when we were all given the last part of class to practice, I found even more ladies that were struggling to figure out what their footwork should be. I did my best to try to help out as many as I could, but I didn’t manage to get to all of them before class was over unfortunately.

The DJ didn’t play many more Viennese Waltz songs than normal than night – maybe one or two extra over the two or three you would hear at an average party – so there wasn’t really much opportunity for people to practice what they learned. One of the first songs that the DJ did play was a super slow Viennese Waltz, which everyone got out on the floor to do, but the later songs that were more normal tempo didn’t see as many participants. Ah well, hopefully this class took some of the fear out of the dance style for these people.

Sunday afternoon I met up with Sir Steven and Sparkledancer for our normal weekend lesson. With the competition over, it is time to buckle down and get super-serious about the showcase performance coming up. After all, it is less than a month away to opening night!

Before we even started to go over the choreography, Sir Steven had to talk with us about the show. It turns out that one of the instructors from the Fancy Dance Hall had some kind of project at their day job that had to be scheduled for the performance weekend, so he wasn’t going to be able to dance in the production! The other male instructors were going to take over dancing the routines that had been prepared with his female students, but there were a few holes in the storyline of the show where this instructor was going to be performing with one of the females on staff.

That was where Sparkledancer and I would come in. The Artistic Director of the show had asked Sir Steven if we could move our performance to fill in one of those holes in the plot. They had a different act that could easily take over the spot where we were going to be originally plus the next plot point, so one number could be eliminated. However, there was a pivotal moment in the story that was still missing which our number could be used for without changing too much of the choreography.

This would mean that other things about the act would have to change though… our costumes, for one, are going to have to be  completely different. I had only gotten two pieces for mine so far, so that wouldn’t be too hard for me to accommodate. The portrayal is the other thing though. Sparkledancer and I had talked about doing this number to work on portraying an emotion during our dancing. Since I am generally a happy and comedic person, we had wanted to try dancing something somber and sad.

Taking our routine and moving it to this new slot means that it is no longer going to portray a sad part of the story. In fact, the part that it fits now would be mostly happy, with a bittersweet ending. Still… I said that moving the routine would be fine, and Sparkledancer agreed as well, so for now that’s the new, new plan. One of these days I hope to actually get to talk to the Artistic Director, but we haven’t both been at the Fancy Dance Hall at the same time in quite a while, so that just hasn’t happened.

By the time we finished our lesson that day, Sir Steven had mapped out what he said would be the first half of the routine. There is a bit of an intro that still needs to be put together, but that piece will involve knowing where one of the set pieces will be placed, and no one has marked that spot on the dance floor yet. Combined with the section that uses that ‘Horse and Cart’ figure and the ending with the big lift, I’m not sure how much of the choreography we still have left to learn.

Sparkledancer and I actually timed out what we have already during our practice session earlier this week, and from that clock it feels like we still have a lot more that needs to be added. The big piece that Sir Steven gave us that he said comprised ‘the first half’ of the routine is barely 42 seconds when danced to the tempo of the song. That seems… short.

The ‘Horse and Cart’ piece doesn’t seem to be safely workable to the song’s tempo, with the number of steps we were given and the way Sparkledancer was told to stretch her arms… it feels too frantic, and trying to move my feet so fast involves me taking tiny steps. However, if we manage to use the figure as I was told it should be, that only adds another eight seconds. Unless we are looking for our routine to be only a minute and-a-half, it feels like we need quite a bit more.

We’ll talk about it with Sir Steven come Saturday and see what his vision for the rest of the choreography looks like…

Because of the holiday this week, the group class that I normally go to on Wednesday night was cancelled, so the last thing that I did this week was go out to Monday night’s Latin Technique class. As class was getting started, Lord Junior gave us all the option to do either Samba or Cha-Cha, and I was the most vocal in my choice of doing Cha-Cha, so that’s what we did. Before I went to class, I had gone to work out and done mostly plyometric exercises, so while neither Samba or Cha-Cha sounded particularly ideal to me, Cha-Cha seemed like the least-worst choice to me.

We warmed up by practicing Lock Steps slowly. After some explanation about the specific things that Lord Junior wanted each of us to focus on (for me it was making sure to put my heels down at the right time), we did sets of three going forward and backward on our own. Next we partnered up and did the same thing, with the men traveling backward for the first set of three and forward for the second, and the women doing the opposite.

After Lord Junior felt like we had warmed up sufficiently with Lock Steps, he wanted to have us all go through an exercise that he had been doing with a student of his right before class started. This exercise had us doing Three-Step Turns to the right and then back to the left on our own. This was a figure he wanted to use in the choreography we would do during class, so he wanted to make sure everyone could do it well before we started on that.

The final bit of choreography mostly consisted of adding together our Lock Step practice with the Three-Step Turn. With both partners facing each other and our weight on the right leg (ladies on their left), we did one Hand To Hand and then did three Lock Steps with both partners traveling forward. At the end of those three we changed sides and did another Hand To Hand. Coming back we only did two Lock Steps traveling forward and then squared up with our partner to do a basic chasse to the right (ladies to the left).

At the end of the chasse we did a New Yorker to the man’s right side, then pivoted back 180° to go right into a Three-Step Turn. At the end we would catch hands with our partner, do a New Yorker to the man’s left side, pivot around again and finish with another Three-Step Turn. The goal was to make sure at the end that we finished up being solid and balanced and on time with the music.

Most of the class was spent rotating partners and just practicing this simple choreography with the music. However, the first time that Lord Junior rotated through the ladies to dance with Bony, something funny happened… I was dancing, so I didn’t see what actually happened, but suddenly from the other side of the room I hear Bony yell out “Turn!” Lord Junior starts laughing then and says really loudly “Bony! You’re supposed to actually turn there, not just yell ‘Turn!’”

That made the whole class break out into laughter for a little while. Lord Junior ended up telling us all that we needed to go through that round again with the same partners so that he could see if his partner could turn correctly on her second try. Good times.

Look at me, posting things on a holiday! I must be really dedicated to this, or something. I hope that everyone manages to get out dancing this weekend to burn off all those extra calories. I know that I’ll be out somewhere this weekend. There is at least one dance party I know about going on, and I think I have some dance lessons scheduled, and for sure I’ll be getting in some practice time. The dancing never ends!

Losing The Feeling Of Feeling Unique

Do you ever feel like sometimes, even when you are not doing anything out of the ordinary, your schedule is still overly full? I’ve had that feeling all week, even though I haven’t been doing anything crazy. I get up at the same time every morning, but this past week I have felt like I don’t have enough time to get everything done before I have to leave the house. I leave the office at the same time every day, but all this week I’ve felt super rushed to try to get home and accomplish basic life things before I have to leave the house again. Hopefully this weekend I will have a chance to spend an hour or two to just unwind a bit. Right now, sitting on the floor and staring at a wall for a while sounds like a lot of fun.

Also, I really need a haircut. I know! Maybe if I go out for a haircut, I’ll find out that there are a lot of people signed up to get their hair cut in front of me. Then I could just sit quietly in the waiting room for a while. That sounds like a pretty good deal to me. I would even hazard to count that as multitasking.

I am so smart sometimes.

This past Saturday I had another two lessons scheduled, first one with Sir Steven and then one with Lord Dormamu. With Sir Steven, we picked up where we left off the week before looking at Tango. After dancing through the routine once, Sir Steven seemed pleased enough with how the section that we had looked at last week looked, so we moved on to look at the figures from a different section. This time around, Sir Steven wanted to look at the figures in the corner connecting the first long wall and the first short wall.

Starting with the Promenade Pivot, he wanted us to make sure that we did a couple of things differently. First off, once the pivot comes around and we are back to Promenade Position facing diagonal center, he wants us to be sure and stop completely. No pivoting and then floating through until the momentum dies on the turn, but a distinct stop once we are facing the right direction. Next, Sparkledancer was told to really throw herself around me as we pivot. I obviously have to be sure to keep her in place and stop her, but in order to make the transition from the Promenade to the Pivot and then back to Promenade again look good, it has to move with power. Finally, as we close the Promenade that exits the pivot, he wants to have us close with me facing more toward diagonal wall instead of facing wall like I am doing now.

This set us up to look at the next Progressive Link that goes into a Promenade with Right Lunge in the corner. Here, instead of lunging out far, he wanted me to bring my legs slightly closer together as I step into the lunge, and then once I have landed solidly on both feet I will drive my right hip toward Sparkledancer. Pushing forward in this way will allow me to be more grounded between my feet, and allow Sparkledancer to work on extending herself away from me even more. This should have the effect of making the lunge appear more voluminous without me having to make it bigger by widening the space between my feet.

We finished off that afternoon by looking at Viennese Waltz. We didn’t actually do much dancing in Viennese Waltz – instead, Sir Steven wanted to look at how we started out Viennese Waltz routine. Rather than get into dance frame like we do for every other dance style and then do some sort of starter step before dancing, Sir Steven wanted us to start doing this funny three measure sequence to get into frame before our first Natural Turn. This is a sequence I will have to try my best to remember. I prefer to start dancing Viennese Waltz with a Reverse Turn if left to my own devices, so anything that leads me into a Natural Turn to start just feels wrong in my opinion.

The pattern starts with me taking a step forward on my right leg for a three-count, with my left leg pointed to the side, extending my left hand. Sparkledancer will then step forward on her left leg for another three-count, with her right leg pointed to the side and taking my extended hand with her right. On the next count of three we both take a step to the side with a bit of a flourish, and on the next three-count I do a small bow while Sparkledancer does a courtesy. The next three count has us coming up and taking a step toward each other to get closer and start to take frame, and the final three-count has us in dance frame, taking a step to my left/her right and winding up a bit so that we can start the next measure of music with a Natural Turn.

OK, so writing it down like that makes it seem less funny and more straightforward. Now all I need to do is remember to do this sequence anytime I want to start a Viennese Waltz, and I will be good. We’ll have to see how that goes for me…

Sparkledancer and I got about an hour break between lessons that afternoon and then we got into things with Lord Dormamu to work on Foxtrot again. He put on some music for us and then had us dance through the entirety of our routine so that he could see how our practice was coming along. After the first runthrough, he turned the music down and came over to where we had ended up on the floor to talk about what it is that he saw during our first try. Nothing was overly terrible that time he said, and our movement is looking much better overall. Because his work with us on Foxtrot has really been to focus on the movement of the dance, that was good to hear!

After giving us his overall impression, he wanted to go over the routine with each of us individually. I got to go first, so he had me get into position, took my elbows, and then had me lead him through the figures up until we finished the first Three Step. As we were heading back, he told me that he could really tell when he danced with me that my consistency of movement was much better – overall, I had smoothed everything out so that the dance was flowing continuously, without any of the stuttering, choppy feeling that I had back when we had started working on Foxtrot. Hearing that gave me a definite sense of accomplishment. Yay me!

There were a couple of points he still wasn’t completely enthused about, because they gave the illusion that the movement wasn’t completely smooth even if it felt that way when he danced with me. The transition from the end of the Reverse Turn with Feather Finish into the Three Step was the big one he wanted to start with. Watching from the outside, he said it looked to him like I was coming up quite a bit at the end of the Feather Finish and then trying to lower back into the Three Step abruptly, making the first step of the Three Step appear to bounce. He told me that to learn what I should be doing, he wanted me to practice staying low in my knees during the Feather Finish and then try to lower even more going into the Three Step.

He pointed out before I gave it a try that dancing this way would make me look like I was stuttering during the transition between the two figures, but the stutter that I would be intentionally introducing this time around would bounce the opposite direction – falling instead of rising. If I could practice the exercise enough to help me get used to canceling out the rise I was unintentionally putting into the Feather Finish, I would hopefully cure my problem and then I would be golden.

I tried it out once on my own, and afterward he just stared at me and told me that doing it like that actually made it look exactly like how he wanted – smooth and even the whole time while I was traveling. He had me try doing it again just to verify that what I did the first time wasn’t a fluke, and sure enough he saw the same results. I then had to try it once with Sparkledancer just to make sure that she was comfortable with the change and everything still looked right with her in the mix. So, since that seemed to fix everything, from now on that is how I am supposed to think about moving through that section. Weird.

We also looked at the Reverse Turn in the corner for a few minutes. At first he wanted to make sure that when we did the check in the corner where I am supposed to rotate my head to look over Sparkledancer that we weren’t ‘breaking’ our sides as we did the necessary shaping. Then he got on my case to make sure that I was moving through the step using my standing leg to drive, but that I wasn’t rotating my body with such force that it would throw Sparkledancer off balance during the turn. I am so much heavier than Sparkledancer that if I put any sort of power into rotating my body, she just kind of goes along for the ride whether she is supposed to or not.

His exact words to me were: “Drive with power, but softly. Like a gentleman.” That right there is a quote to remember for life.

Before finishing that day, Lord Dormamu wanted to spend time going through the figures on the short wall, since we usually only spend time working on the long wall. The only point that he really had a problem with was the Natural Closed Impetus with Feather Finish. He thought that the footwork we much better, but from where he had watched us go through it the first time it looked like my head was bending toward the right when I went through the figure. I didn’t think I had moved my head at all, since I had spent so long working on fixing that issue, so I was disappointed to hear that he thought I had done that.

When we danced through the figure again and I made sure that I didn’t move my head at all, he told me that it still looked wrong. I told him that I was focusing specifically on keeping my head in the same place this time through, so I knew that it didn’t move that time. He had us dance the figure again, but this time he moved to watch what I was doing from a different angle. From that vantage point, he could see that my head wasn’t moving at all, but it still looked wrong, so that meant that I needed to change things in my body to fix the problem.

So for the time being he told me that when I take my step backward to go into the Natural Closed Impetus, I need to make a point of leaning my upper body to the left as I go through the figure. If I keep my head where it should be and lean my upper body to the left, that will make it look like my head is leaning to the left if you are watching me from the outside. At this time, I was told to make the lean pretty extreme to really get the feeling into memory, but next time I see Lord Dormamu he will evaluate how I am doing and (assuming things are better) I will start to ease back on the leaning a bit. So we’ll see how that goes this week!

Monday night’s Latin Technique class was a rough night for me. Based on how things have been arranged on my calendar, it just so happens that this week and last week, and for at least the next couple of weeks as well, my normal leg workouts will end up on Monday. So after I finish up pushing myself to lift heavy weights with my legs for about an hour, then I only take a short break before heading off again to do some heavy Latin dancing for another hour. This is not the most pleasant thing to do on a Monday night, especially this past Monday night when we worked on Samba.

This class on Samba wasn’t about going over some progression of higher-level figures to help us improve, or working on a section from one of his students’ routines either. This week we worked on drilling in the technique for a basic Samba movement that everyone knows and loves: the Volta. Apparently Lord Junior often sees people doing Voltas wrong, so he wanted to make all of us shining examples of how to do them right. We mixed in all kinds of Volta movements for practice that night – some that traveled straight, some that curved, some that rotated, some that were continuous, some that paused, etc. etc.. At the end of class we also worked on doing some with a partner, and since we had twice as many women as men that night I got to do twice as many steps as the ladies. By the time I climbed into my car to head home, my legs were just worn out.

We started with a progression of simple Voltas that used the basic timing that most everyone will recognize. There were four of the original recipe Voltas that moved in a straight line, then four more that curved a total of 90° by the time you finished the fourth, and finally four Spot Voltas to finish things up. We were told to shoot for turning at least 180° for each Spot Volta, but Lord Junior encouraged us to turn more if we could do more. We did this pattern several times going to both the left and the right, ensuring we could do all of these different Volta movements starting from both feet.

The second pattern of Voltas we did all traveled in a straight line. This time we focused on variations in the timing of the figure. We once again started off with four normal Voltas using the basic timing. Next up we did two Voltas where the first two steps used the basic timing but then we held ourselves in place for the remainder of the measure of music, making these Voltas super slow moving. Lastly we did these four step pseudo-Voltas that moved very quickly and had a lot of rotation in the body. If you are traveling to the left, you would take a step and then cross your right foot behind the left, rotating your body to face diagonal wall against the line of dance, and then step out of that on the left foot and finish by crossing your right foot in front in a Cuban Cross, with your body now facing diagonal wall. We did four sets of these, covering another two measures of music.

At the end of class Lord Junior had us do some practice dancing together with a partner. We kept going with the final pattern of Volta movements that had the differing timings, but added on beforehand to give us a nice transition into the pattern. The whole thing started out with the lady standing in front of the guy, with our left hand taking her right hand and our right leg back while her left leg was forward. We then went into three Promenade and Counter Promenade Runs, the first one having the lady come around the guy. At the end of the third run, rather than hold the final step for a moment the guys would slide their hand down from the lady’s shoulder to grasp her forearm and we would go right into a Volta, using that to transition into the pattern of Volta movements discussed previously.

Finally this week, last night was Standard Technique class, and I got to work on Tango again (deja vu?). I kind of co-opted the class to try to get more practice in on something that I have been working on as soon as Tango was brought up. All of us who had shown up for class that night had congregated in one corner while Lord Junior was finishing up the paperwork for the private lesson he just finished teaching. When he came to join us in the corner and asked us what we wanted to work on that night, Sparkledancer said that it had been a while since we had done Tango in class. I didn’t think it had been all that long, but then I remembered that Sparkledancer wasn’t in class three weeks ago when we last covered Tango, and then it made sense.

When Lord Junior asked if there was anything specific in Tango that anyone wanted to work on, no one else brought anything up, so I asked if we could work on making sure our Tango actually looked like Tango. He looked at me quizzically for a moment, so I explained that a complaint that I had gotten last week from Sir Steven was that my Tango moved a lot like a Foxtrot, so I had been trying to make the two dance styles more distinct. He laughed at my confession, but agreed to putting some Tango figures together that could help me out.

We started with a simple Progressive Link, because Lord Junior said that there aren’t many other steps in the syllabus that really embody International Tango quite so well. We worked on making our Progressive Link sharp and precise for a while, using a basic Closed Promenade afterward to end a little more naturally. Satisfied with how we looked, Lord Junior had us add on a Back Corte to the progression. We rotated the last three steps of the Back Corte enough so that we could move around a corner from where we started. Now facing diagonal center on our imaginary new wall, we added on the first half of an Open Reverse Turn with Lady In Line. This is the less common variation of the Open Reverse Turn – most of the time you will see people doing the Pre-Bronze version that has the lady in outside partner. In the middle of the Open Reverse Turn we put in a set of Left Foot and Right Foot Rocks just for fun, and closed with the second half of the Open Reverse Turn.

We spent the majority of the class practicing that full progression. The figures themselves were fairly basic, so to end class Lord Junior wanted to give us all something a bit more challenging to close out the night. We looked at an Open-level choreography figure that he called the Promenade Step Taps. This is a figure that I’ve seen before a couple of times that travels pretty quickly down the floor. In Promenade Position, after taking the first slow step with your outside leg, you then take a quick step onto the other foot and then bring your outside leg up and rotate it so that you can tap the point of your shoe onto the floor for half a quick, before bringing the foot back down and repeating the process. For our practice we did two taps before we closed the Promenade by squaring up with our partner.

My night magically cleared up. I had a lesson planned for tonight, but then it had to be rescheduled. I had everything all ready to go with this so that I could post it quick when I got home but now… I feel like I should go back and rewrite sections of it, but I don’t think I’m going to. Maybe I’ll go back and edit it later, but probably not.

There’s a wall calling to me. Time to get some staring in before bed. 🙂

To The Window, To The Wall

 When I finished up my lesson with Lord Dormamu on Saturday morning, I felt… surprisingly good about my dancing.

  Things just seemed to start off on the correct foot that day. I got to the Fancy Dance Hall early, as usual, to warm up. Sparkledancer and I decided to spend most of our time that morning warming up with Waltz, even though we both were pretty sure that when Lord Dormamu finished up with his current lesson he was going to come over and have us work on Foxtrot. That was a correct assumption, so we ran through our entire Foxtrot routine for the first time that morning while under the scrutinizing eye of Lord Dormamu. Turns out that he thought our first run of the routine was the best that he’s ever seen us dance a Foxtrot. He even had us run through it again and got Sir Steven to stop teaching the other student he was with for a few minutes to watch us.

  I didn’t think it felt all that different from what we normally do, but Lord Dormamu was so excited! I even got one extremely positive comment that gave me something to look forward to – as I mentioned, when we started working on Foxtrot with Lord Dormamu, he was telling me that when I danced he wanted me to stay extremely low, almost like getting into a Yoga Chair Pose and then trying to dance. A month and a half ago I had compared dancing Foxtrot in that position to doing the prisyadka, and I still find that comparison to be accurate. During our lesson that day, Lord Dormamu was once again telling me that I needed to get down into the lowest squat I could while still being able to move my legs and dance the routine.

  After a couple of times running through the first part of the routine that day with Lord Dormamu pushing on my shoulders to lower me even further toward the floor, he gave me a break for a minute and told me that no matter what anyone else said about how weird it looked to be dancing Foxtrot in this manner, I needed to keep working on this technique for the time being to make my movement in Foxtrot better. He compared the technique to what he had me do with my head back in March, telling me to keep my nose in line with my sternum to ‘reset’ all the bad habits I had of moving my head around while dancing. It took a few weeks, but after he considered me to be reset to a new default, I was then told to start putting my head in the right position.

  Lord Dormamu’s comment that day was that dancing while being so low to the ground in Foxtrot is not the correct way I should dance. He knows this to be true, other judges will know this, so if I hear instructors make comments about me looking weird, they aren’t wrong. He told me that this exercise is like a doctor giving me medication to cure a sickness. Sure there might be a side effect that no one likes (i.e. me being so low to the ground), but once the sickness is cured then I won’t have to be on the medicine any longer and the side effects will go away, meaning that I will get to come up to a more reasonable height while dancing.

  That is definitely something to look forward to for me. Also… since the ‘sickness’ that he’s curing is the movement of my Foxtrot, does that make it… motion sickness?

  Why yes, I totally did just high-five myself for typing that.

  After Lord Dormamu got us through our movement drills (or got tired trying to fight against my strong legs when he was pushing me down), he had us focus on the Three Step for quite a while. He said that although it is one of the first steps in International Foxtrot that anyone learns, and it is only three steps down the line of dance, the Three Step is one of the hardest figures to master. What he asked us to do was to go slow and pause and balance with every step, giving him a chance to adjust our position if needed and really lock in the feeling of each position before moving to the next step.

  This… was harder than I would have thought. I will admit that working on the isometric portion of Yoga is not my favorite thing to do for a lot of positions. I enjoy the flow and the movement, but holding really uncomfortable positions for long periods of time is something I will actively avoid if I can get away with it. Dancing through the Three Step slow like we were was a lot like only doing the isometric portion of a Yoga routine.

  The second step was really what caused us all the problems. Lord Dormamu wanted me to work on sliding my left foot forward as much as possible in the step, so I would end up with both my left and right legs almost completely straight, still low to the ground, and also trying to twist my upper body to create the right-side sway I should have. Then on top of that, he wanted me to hold that position, maintain my balance, and add in Sparkledancer to the mix and allow her to make micro-adjustments to her position to get in her proper place without knocking me over!
  We worked on this for probably twenty minutes. Ten minutes in, Lord Dormamu got a phone call he had to take, so he left us to work on it on our own for a little while. That was probably for the best, since it allowed me to curse about what we were trying to do without him listening. When he got back and continued to watch and comment on what we were doing, he told us that this was something we should set aside time to work on during our practice sessions. He made sure to say that he realized what we were doing was terrible when going so slow (he had to go through this exercise quite a bit himself over the years), but going slowly is really the best way to practice everything.

  Finishing up, Lord Dormamu had Sparkledancer and I meet him in the office to sign the paperwork for our lesson and schedule our next session. As we were each going through our calendars to find a time that worked for all three of us, Lord Dormamu called Sir Steven in to the office as well. He took some time to go over with Sir Steven what we had just done, and told him to continue to avoid working on Foxtrot for the time being. That day he specifically wanted Sir Steven to spend time with us focusing on getting Sparkledancer to extend her body even further out away from mine to create as much volume as possible. The slight look of panic on Sparkledancer’s face when she heard that comment was enough to let me know that she was super excited about that.

  As soon as we finished with all the paperwork, Sparkledancer and I were back out on the floor to work with Sir Steven. He decided to have us work with the Waltz while working on Sparkledancer’s position while in frame. I think my Saturday was all about fun times while moving slow…

  One of the notes that I made after the lesson was over was about a story that Sir Steven told me while working on Sparkledancer’s position. Sir Steven said that I really needed to make sure that I kept myself as straight as possible when Sparkledancer is trying to create volume with her frame, and not to try to ‘help out’ by pulling my upper body away from hers. He has seen me doing that before, so he wanted to squelch the behavior before he sees me doing it again unintentionally. This behavior was something that he himself got yelled at for doing in the past, so he knows firsthand that I shouldn’t be doing it.

  The story goes that some undisclosed time ago, Sir Steven was working with the Princess on his own dancing as he was getting ready to do a competition with his professional partner. In the middle of the dance, the Princess stopped him to ask him what he was doing. Not knowing what she was talking about, he just stared at her blankly until she pointed out that he was leaning his upper body away from her during the figure they were dancing. He said that he was just trying to increase their look and volume during the step, and she just stopped him and said “We can’t both be flowers. I’m supposed to be the pretty flower opening up away from you. Are you a pretty flower?”

 From then on, the Princess would make fun of Sir Steven whenever she saw him start to lean his upper body away from his partner. There would be times he and his professional partner would be practicing, and the Princess would be in the studio doing other things and would yell out across the floor “Sir Steven, who’s the pretty flower?” to remind him to keep himself straight. And for the amusement of everyone else, I’m sure. So the warning I was given that afternoon was to keep my own frame strong and straight if I don’t want to be yelled at by the Princess when she’s around.

  One figure that we focused on in particular that afternoon was the Outside Change that is between our Progressive Chasse to Right and Chasse from Promenade Position. I guess that the way we were coming out of the Outside Change into the Chasse from Promenade Position didn’t look quite right to him. He spent some time making sure that Sparkledancer was heading straight down the line of dance for her first two steps instead of curving off to her right as I was stepping to the right to get out of her way. I spent a lot of time just standing in the position I was in at the end of the Progressive Chasse to the Right as Sir Steven went over the step with her.
  Let’s talk about Latin Technique this week instead of Standard Technique, like I did the last week. I’ve gotten particularly verbose lately when writing these posts, so I’ve decided to try my best to keep them as controlled as I can. There are just so many dance-related things that I want to remember!

  Monday night I was out at Latin Technique class as usual. Our favorite fierce Latin cat Tanya Tiger was there that night, having finally finished up her long-running obligation that had kept her away on Monday nights. To celebrate, she got to pick what we worked on that night, and she picked Samba. I personally don’t think that is much of a way to celebrate, but that’s just my personal opinion.

  The big reason that I wasn’t having much fun that night was because of my dance shoes. I have one pair of Latin shoes, and lately I only wear them for this class. I got them quite a while ago from some website that had a pair of really nice Latin shoes on clearance for 25% of normal price. The problem was that the closest size that they had of these clearance shoes was a half-size smaller than what I usually wear for my ballroom shoes. Since the deal was too good to pass up, I ordered them anyway. The left shoe fits just fine, but the right shoe is too tight. I spent the week after they showed up using all sorts of things like sticks and ice and shoe stretchers to stretch out the right shoe just a little so that it fit, but over time it slowly shrinks until one day I put on the right shoe and my big toe hurts. Then I have to stretch the shoe all over again.

  Monday night it was fairly obvious that the shoe had reached the breaking point that my foot could handle, so I need to stretch it out again. I’m kind of sick of doing this just to make the shoe usable, so I’m contemplating breaking down and ordering new Latin shoes. What holds me back is that I really only use the shoes once a week, just for Latin Technique class. They aren’t like my ballroom shoes which get used all of the time, so replacing them when they have issues is a necessity. I think that it’s finally time to bite the bullet and just order a pair in the right size though. Who knows? Maybe if my shoes fit well I will be more inclined to compete in International Latin again someday. Maybe. I wouldn’t hold my breath for that though.

  What we worked on in Samba was a set of figures that Lord Junior is starting to fit into his Samba routine with Tanya Tiger, but he modified it slightly so that we could all dance the progression without partners that night. I think he did that so that Tanya would end up with an exercise that she could use to practice without him that would help her directly with her routine. We started the progression on one end of the long wall, and those of us who really pushed out of our standing legs could get all the way to the other side when we finished so we could just turn around and go back.

  We began with a Three Step Turn to the left, ending in a sort of lunged-forward position on the left leg. From there we did some Cruzados Walks and Locks, with the Lock Steps being syncopated to make them more interesting. After two sets of the syncopated Lock Steps on the right side, we did three Samba Locks on the left side with no pause in between each one, ending once again in a lunged forward position on the left leg. We held that position for two beats of the music to allow the musical phrase to finish before the next steps.

 Here Lord Junior wanted us to do a non-syllabus figure to make things more interesting. He called the step a ‘Merengue Twist’ so that’s what I’m going to go with. It was a lot like doing a Hip Twist in Rumba or Cha-Cha, where you twist your body so that one leg ends up forward in a press line with the back foot turned perpendicularly. Lord Junior initially told us that he wanted everyone to try twisting as much as possible, so that’s what I was doing, but I felt like I was twisting so much that my front foot was crossing too far in front of my back foot, making it hard to do that step a second time. He watched me go through it once, laughed at what he saw, and told me that I was twisting waaaaaaaaaaaaay too far. I backed off to where it was more comfortable and then the step was much easier. We finished up the progression after those Merengue Twists by adding few more repeating Samba Locks on the left side.

Waaaaaaaay too far, for sure.

  It’s summer, so it’s time for me to do some out-of-the-ordinary dancing. I plan on making the hour drive out to the High Five Dance Hall to attend one of their parties. I know that doesn’t seem like much of a drive for some people who have to take long trips every time they want to dance, but I have all of these other dance studios within 20-30 minutes of my house, so going to one that is twice as far doesn’t usually seem necessary. Still, I’ve been trying to get out there at least once a year to help support them and see all the dancers in that area.

  I also saw an email go out that some dance hall I have never heard of before in the area is having an Intermediate/Advanced West Coast Swing class that sounds interesting to me. It is tonight, which is why I am posting this earlier than normal so that I don’t have to worry about trying to get home after this class to finish this post up. Summer dance adventures, here I come!