Blackpool 2010 Ballroom Dancing Pro Final - Waltz

Is this a formation or a competition? These two couples at the start look like they may be working with the same coach. I understand trends and in my competitive career I fell into the same trap, only I was dancing in the American division so starting trends were no quite as obvious. It even seems the camera man pulls away as if to say, "This has gone on long enough." In fact, if you were to pull back the camera you might find there were more more than two couples doing that opening, but that is especially the nature of Standard. Having poked fun enough, you can't deny the enjoyment in watching such flawless technique danced side by side, and the skill to manage their floor craft so effortlessly. You less seasoned competitor would have become flustered in that corner I assure you.

Quick Fix for the Rumba Box Blues

TIP FOR BEGINNER OR TEACHER

Rather than do the Rumba box step, simply step side-together-side, to the timing of quick-quick-slow. Begin turn to the left very very gradually while thinking of doing most of your turn on the slow. In no time you will be doing the box, and you can skip that troublesome part of remembering which foot to move forwards or backwards with. Once you begin turning the side-together-side figure, the slow step will gradually and naturally begin to become a forward or back step. As long as you don't think about when it it begins to happen you'll be fine. But, don't be surprised if the moment you begin to get it and realize you doing the box that you may make mistake. However you will have proved to yourself you can do it, and beating that belief system is the whole battle. 

For teachers accustomed to dancing slow-quick-quick, rather than quick-quick-slow, I say, "Get over it" for now at least, until your student gets accustomed to a box. If you are reading this and thinking, "What's the difference between QQS vs SQQ?", there is none that matters. Some start one way, others start the other. For those that were not thinking that because you know the difference, then you already know, it doesn't matter in social dancing (Or competitive for that matter).

The reality is that the box step is hardly natural. If you find it difficult in the beginning it is not you. Having a person bring their feet together, then asking them to chose the correct foot next is just asking for trouble. If you ask anyone that has their feet perfectly together, which one they are standing on, they will either  have trouble answering, tell you "both", or lie and pick one. The truth is they are standing on both, which gives that a person a natural choice as to which foot to "Pick" next. And choices are bad! Bad choice! Bad! Dancing the step side-together-side alleviates most of this issue, as the foot that runs into the other tends to allow us to kick out the other, should we be moving in that constant direction, and not having had to put the brakes on to get our weight to stop moving and prepare to go forwards or backwards.  

This tip really only works with rumba, and doesn't really work with Waltz. But, if it can get you over the hump with the box, then later a box, is a box, is a box. And a little secret, way down the road, it's all a box. 

ALL MEN SHOULD KNOW AND USE THIS

Most male students, especially beginning to intermediate, but not limited to,  should take this into account when dancing with someone that is new. Guys, if you're out and about and you ask someone to dance that doesn't know the box step, you could stop and show them the box if your goal is to completely humiliate her with additional plans for her to never dance or even talk to you again. Or you could try out a simple side-together-side action. Personally, truth be told, I wouldn't even do side-together-side if I were in any setting other than a ballroom dance setting. I'd clutch and sway and twirl her lightly now and then. But, in a ballroom setting, where you run into the beginner that has not had any lessons yet, this is the gem. 

Oh, and one more tip for our gentlemen dancing with newcomers. I always start in promenade with a beginner in dances like Foxtrot or Tango. No need risking stepping on a foot. Promenade is the gift from the Foxtrot mixer gods. 

Please leave a comment, or ask a question. 

Ballroom Dancing Makes a Difference

Social Dancing makes you Smarter

It sounds like an absurd statement, but the truth is a study was done at the Albert Einstein College of Medicine in New York City, and published in the New England Journal of Medicine. The study looked at numerous activities, both physical and non-physical, and their effectiveness to protect against dementia.

Reduced Risk of Dementia

• Bicycling and Swimming - 0%
• Playing Golf - 0%
• Reading - 35%
• Doing Crossword Puzzles Regularly- 47%
• Dancing Frequently - 76%

No other physical activity offered any cognitive benefits, and dancing ranked higher than all the other activities by a significant margin. Google the cognitive benefits of ballroom dancing, and you will find there is no shortage of information on the subject. In fact this was not the only study on the subject. This is a link to the TAP site (The Alzheimer's Project), one of the many google results you can find on the subject: http://thealzheimersproject.org/2014/12/ballroom-dancing-and-alzheimers-can-dancing-make-you-smarter/  

Social, or partnership, dancing offers greater cognitive benefits than other types of dancing. Richard Powers from Stanford University has written a great deal on the subject explaining social dancing as  "Intelligent Dancing."

The bottom line is it is due to the "leading and following" factor. Dancing with a partner keeps you on your proverbial toes, so to speak. Both partners must think and respond accordingly while they dance, as opposed to dancing by memory. He also points out the process in which a person is taught and therefore learns social dancing makes a difference in the cognitive benefits they might receive.

Process, Process, Process

I have been teaching ballroom dancing for 30 years, and I can't stress enough the importance of process. It's true everyone's process is a little different, and some people might have a more difficult time learning with a particular process. It is also true that certain processes produce certain results. For instance, if a man learns 5 dance figures and reinforces his memory of the steps by putting them in a particular order, he will most likely retain those figures quicker than if he were forced to mix them up upon execution. Unfortunately, should someone get in his way on the dance floor, essentially blocking him from doing the next step on his list, he won't be able to handle it. Naturally his leading won't be very strong as a result, and for guys....well, leading is kinda the whole point.

It is even worse for ladies. If a lady works hard to master a figure, making sure to be able to dance it correctly every time, she will run into equally tough issues. She may practice tirelessly to bring her feet exactly together on her basic box step, but if her process of perfection leaves no room for alternatives, he perfect footwork will buy her nothing but trouble when the gentlemen she is dancing with does an open box, where the feet do not come together. I'm not saying don't practice bringing your feet together in a box, nor that practicing on good technique of any kind is bad. I am saying women should put much less stock in figures, especially long showy figures, and much much more on elements. 

Those long American style school figures are terrible for dancing from a lead and follow perspective. Women develop following skills that are by recognition rather than pure following and men try to lead these steps that are impossible. 

The point is people should be dancing from as creative a place as they can, and the only rules that are truly important in ballroom dancing are the ones that pertain to providing your dance partner with the best partner you can. Any steps learned are only meant as a vehicle to learn to move your body in a variety of ways. Ultimately social dance steps teach us how to rotate left and right with a partner, enabling us to move around the dance floor efficiently and with ease so that we may express the character of the music and share this with a partner. 

Notice I did not say while expressing the character of the dance. When the dance and the music have been paired together purposefully it is assumed the dance's characteristic movement will fit the music. But, it is an assumption nonetheless and you shouldn't consider expressing the characteristics of a Foxtrot more important than the music. (The exception might be competing, as the type of dance may be a better option than the poor music your given. lol) It is not about repeating what you have been taught, but rather taking what you have been taught and applying it by expressing what you are feeling, and enjoying sharing that with a partner. 

I could go on and on, but I will leave you with this. Ballroom dancing can really make a difference in your life, and the benefits go far past the cognitive benefits that help protect against dementia. There is truly something mystical about the healing powers of dancing with a partner. And, to get the full set of benefits, the process in which you learn is important. Don't learn a dance, learn To dance. 

Check out these other fantastic articles by Richard Powers. 

http://socialdance.stanford.edu/syllabi/musings.htm