The Unlikely Salsero - Don Baarns

Better Ears: Voices in My Head

2008-10-09T12:20:00.000-07:00

Learning song lyrics (words) are an excellent way to improve your musical listening skills. This uses my "Selective Focus" concept, which is one of the keys to hearing the music well. Of course, anybody can look up the lyrics, the trick here is actively listening to the song.

Focusing on the words, you selectively listen to the singer while mentally blocking some of the music. That's the same skill used to listen to one instrument, while ignoring the others. Over time, you learn to selectively focus on any desired voice, instrument or set of instruments in the music. You hear the overall sound, and/or pick out interesting things that most others aren't hearing.

Visually we do this all the time. When driving yourself, you hardly notice things that are obvious when you're a passenger, because the driver's focus is different. We want similar selective focus with our hearing.

Clearly hearing the clave, piano, bass, percussion and/or other instruments are longer-term goals for salsa dancers. Many are surprised to find that other people don't hear the same words.

It is much more difficult hearing the diverse instruments in rich salsa music, so start with lyrics and build a solid foundation. The lyrics are usually the most accessible part of the music but they can still be a positive, fun challenge.

In other words, song lyrics are simply one of the best starting points for tuning and refining your ears.

If you already have great ears, working the lyrics is another tool for refining your listening skills. You can (and should) figure them out it in your car, while exercising, eating, shaving or almost any other activity which doesn't require your absolute full attention. If you are starting out, there is significant payback from investing some concentrated time listening without doing something else.

I work with so many people who want to hear more in the music, but they often want to run really fast, when they don't crawl very well. To see this in action, listen to the beginning of the 1976 hit by Stevie Wonder called "As", and write down the lyrics, especially his first phrase at around 14 seconds. (It's so last century, but a classic.)

Repeat that process for the second verse, starting around the 34 second mark. I highly recommend you take a minute or two and write down those lines. We'll use those words later in the article. You don't need to do the complete tune for this example, you can do that as a follow-up after writing the first couple lines of each section.

I've tried this with some very experienced ears and many total beginners, and across both types, over 90% of the people will get the opening line wrong by one or more words. It's a very creative line and Stevie is a musical genius in both words and music.

To get it right (without cheating and using Google to find the lyrics) less experienced ears often need 20 or more listenings, and a wide set of people will not get it right until they have practiced. (BTW - If you get one or two words wrong you're "normal," so don't be bothered.)

More experienced ears generally get it right within a few reviews. Sometimes we all get fooled, thinking we have it right, and you'll have a tough time hearing it differently once you believe you "have it."

I recommend you listen to it at least 10 times, verifying the opening line is correct, AND verifying the line that starts at the 34 second mark is right. Again, writing these lines down is very helpful.

If you want to really have some fun, ask a few of your friends to listen to the tune and tell you the opening lines. Even if you personally have it correct, you'll be amazed at the variations you hear. Then ask them to tell you the line around the 34 second mark (as you did above).

After writing down your answers, check out the second version of the tune (below). It's a remake by George Michael and Mary J Blige (MJB). Please don't watch it until you've done the exercises above.

You'll quickly notice this version is easier to hear. It's a modern recording, it's a little slower and you can see him singing, making it dramatically easier to get the words right. I selected this tune partly because I had both versions, with and without visuals.

As stated in a previous article on hearing with your eyes (see "Related Articles" below), the visuals of someone singing make it much easier to verify specific words. This same concept applies to the other instruments when watching musicians perform, and you can see the concept in action in these two examples.

Check out this version against the words you wrote down. Does his singing match with the words you wrote down above?

I'll follow up in the comments section with the correct lyrics in a couple days so you can check yourself if you wish. (I think you'll find it fascinating.) Play it for as many friends and family members as possible and see what they hear.

To be clear: Hearing the words is much easier than hearing the individual instruments in almost any song. Figuring out the exact words builds your selective focus skills and you'll use that to your advantage as you grow.

The tunes I provide above are simply examples, and you should take your favorite tunes and see if you can get all the words right. Because this can require listening to the same song 50 times, pick music you really like. Over time, this skill provides a foundation for hearing the details in salsa music, and then you can apply that to your dancing.

Side Note: I'm experimenting with a new Facebook group for discussing blog articles (like this one) because threaded conversations are easier to follow. If you're on Facebook, add yourself to the group and if you had it slightly wrong (which is normal) please post what you heard when you started. I think others will be surprised how many different things people hear.

If we get honest answers, you'll quickly see you're not the only one who misses a word or two.

Click here to join the Facebook group.

Related Articles:
Using Your Eyes to Hear the Music
Listening to Music 100 Times or More
Finding "One" Over the Wires (part of a series)
Hearing but not Listening (part 3 of a series)

Courage is doing what you're afraid to do.
There can be no courage unless you're scared.
--Eddie Rickenbacker

Three "Above Average" Secrets For New Guys

2008-10-07T23:19:00.000-07:00

News flash: Guys don't need to be the best in the room to have a great time. If you want to maximize your social dancing fun, you simply need to become "above average" in your area as fast as possible. Not a super star, but better than half the guys in the room.

A beginning guy walks into the club. Many quickly get discouraged when seeing some of the leads with years of experience. It seems like they are having all the fun, and many believe you have to be a near pro to have a great time. During beginners hell-- that point where you can't remember much beyond basic and cross-body leads-- it seems like you need to earn that elite status to get the great dances. Through the new guy eyes it looks like such a daunting task.

Not so!

Secret Number 1: Getting to Slightly Above Average is a Major Tipping Point
I say this to all the newer leads who will listen: The fun in dancing is amplified dramatically when you get yourself into that "slightly above average" skill level. There is nothing wrong for working toward being the best in the room, but getting into the top 49% changes the dynamics of partner dancing forever.

Once you're better than half the guys in any room, you grow even faster because the stronger partners are much happier dancing with you. Part of the followers night is spent dancing with guys below your level, so you start earning a spot on their "preferred list."

Some start positioning themselves closer to you so you almost have to ask them or risk being rude (it’s a great problem when it happens). Dancing with stronger partners improves your game too, and it creates its own momentum.

At the same time, when dancing with newer follows (who grow much faster than most new guys), they recognize you're better than many others and as they grow, they also want more dances with you. You win with both sets of potential partners.

Just the fact that you've grown to that level lets them know that you'll probably continue improving, and ladies are attracted to guys who are improving month to month. Even if you reduce the pace of your direct learning, you’ll still grow with the momentum of your stronger partners.

Secret Number 2: "Average" is not real high at most clubs
Being the best in the room is generally a multi-year project, and by definition, few guys will reach that level. On the other hand, the average level at most clubs is not too high, and getting to average is not out of reach for anybody who stays in the game for a matter of months. Depending on your dancing history and the overall level in your area, that could be three to twenty-four months, but in many areas it's in the lower/middle of that time scale.

The reality is most leads take some group classes for three to six months before simply social dancing and watching other guys. Some watch clips on the web to learn more and a few purchase some DVDs. When you learn primarily by watching, it’s easy to miss details. Of the guys who do take group classes, the majority take once or twice a week for a few months before cutting back. The dropout rates of group classes are amazingly high after the first four to six months.

If you make a concentrated effort, it’s easy to learn faster than average. In addition, most guys level off after a couple months, so just staying in the learning game an extra four to six months can make you stand out. Nothing says you should quit learning after that point, but the momentum of getting beyond average often pushes you even higher up the food chain.

Secret Number 3: A few private lessons can make a huge difference
If you take some private lessons with a strong instructor, you can greatly accelerate your march toward "above average." You don't need to take 40 lessons, but most guys would be well served to take six to twelve lessons from an experienced instructor. They can show you tricks of the trade that polish your skills quickly, pushing you toward "above average" much faster than the guys who either learn on their own or primarily attend group classes. Instructional DVDs can also make a huge difference.

Over the longer term, I'm not advising you to stay and camp out at the slightly above average level. It’s an excellent first goal as you start dancing. You always decide where you want to end up.

If you're starting out, set your initial sights on getting above the average for your scene. The momentum of getting to that level will carry most guys way beyond the 50% mark, with much less effort than the effort to get started. You’ll have enough success and experience to see what it takes to grow beyond, and you have a tail wind of stronger partners assisting.

Gentlemen in the above average group will tell you the view from there is very different than being the new kid on the block. It's worth all the effort and while being your personal best is an ideal goal, once you get a little beyond the average in your area, the joy is multiplied and the effort seems like it was trivial compared to the fun.

Let me know what you’re doing to get into that above average range.

Great things are not something accidental, but certainly must be willed.
--Vincent Van Gogh

Ego: Without It No Men In the Clubs

2008-10-02T08:12:00.000-07:00

In a comment on another article, someone mentioned, "There is no place for ego when two becomes one." My first thoughts was, "Hmmm… I’m not so sure about that because that means I’m off the floor and most of my leader friends would need to go home too."

My next thought was, "Should your ego be on display when you dance?"

The politically correct answer is "No! Never. It's all about my partner!" But hey, that is simply not the reality for the strong men dancing out there. Salsa is about opposites attracting, and guys with big egos are often in demand if they handle it correctly. It's fine for guys to "show off" from time-to-time.

It's about balance and I like the old 80/20 rule: If you’re a guy, 80% of your focus should be on your partner, 20% of the time you may highlight your best and then return focus toward your partner. (Maybe 90/10 would be a better target for some of us bigger egos… You be the judge.)

I'm one of many who tell you to take care of your partners, put them first, and make them feel great. You're missing it if you “over dance” your partners regularly. Your moves shouldn’t be shouting “look at me” most of the time, but rather “look at my beautiful partner.”

Many times when you do it right, your best will bring out the best in your partners and they will seem brighter too. Feeding off each other is the best situation.

Does that mean I don't have an ego when I put the ladies first? Do I try to simply blend in and always stay in the background?

Heck NO! I'm one of the most egotistical guys you'll ever meet, but hopefully I express that in a way that works well for others. Most guys are pragmatic, making lots of mistakes while younger and some actually learn from those experiences. More mature men (little to do with age) have learned that looking great from the refection of their partners is a much stronger statement than taking actions that shout, "I'm great" or “Watch me” all the time.

Ideally, your dancing displays a quiet confidence most of the time, with flashes of brilliance appropriate for your partner and the moment in the music. Your ego is always there, but not always screaming for attention. A sprinkle here and there goes a long way.

It's all about ebb and flow, and great dancers often dance way below their high-end technical abilities, instead maximizing their feel and focusing on their partners. They select strategic moments to pull out all the stops. While the ego may be bubbling below the surface, the best wait for the right partners and music, and even then they have moments of extreme calm and simplicity.

The strongest often employ the, "I've got it, but I don't need to show it every dance," type of mentality. Their ego is so strong they are comfortable if you don’t see it for a while. They aren't hiding it, but rather selectively letting it show through without taking away from their partners.

Most guys would never be in the clubs if they didn't have an ego, and few would put in the effort to dance well without an ego component. Dancing exceptionally well is a choice that some make because their ego is involved, and they want to stand out from the crowd. They work on it, often to impress the women and show off their skills.

I have no problem with men showing their outstanding moves, but I'm not impressed by dancing that isn't in sync with their current partner and the music, combined with a healthy respect for those around them.

I don't respect the egos that ignore others, over-dancing their current partner, and/or push others aside to grab more and more spotlight. Some guys abuse there skills in an effort to become the center of attention, in almost every dance, while their partners appear as an afterthought. That's way outside good sense and tends to be the mark if an immature dancer (or person).

Male dancers of all styles, all around the world dance well to impress women. A smart man takes care of his partner first because that is best for both of them. You can have a massive ego but still showcase your partner on the social floor.

Salsa doesn't require you to hide your ego or masculinity; instead, it's about channeling it toward a partner combination, and making her the star of the show most of the time.

In my world, ego plays a strong positive role in pushing guys forward; it’s about how you use it that makes it a negative or positive.

Let me know your examples of the male ego at its best and worst via the comments link below.

Follow your bliss. Find where it is and don't be afraid to follow it.
--Joseph Campbell

Avoid New Partners When Soaked

2008-10-01T20:30:00.000-07:00

I get lots of private e-mails and I just had to write about this issue on behalf of my female partners. It's similar to bad breath or body odor. Nobody wants to let you know, so I'll take one for the team.

You'd think this is obvious, but guys pay attention: When you're totally soaked from some great dances, that's not the best time to ask a new partner to dance. Find someone you already know who doesn't care or take a break.

If it's a first dance and you are not already a known superstar or elite dancer in your pond, most women are not thrilled when they figure out you're all wet. It just isn't your finest first impression. If you do dance with a new partner and you're soaked, avoid close holds or putting her hand on your shoulder until after you've established you're an amazing dancer. Sometimes that softens the reality, but often it's not enough for a new partner.

It does change a little as you build a positive history with a partner. After a set of fun dances with a partner, fewer care that you're all wet.

The opposite applies to the ladies who are new to the scene. They are often not ready for the reality of dancing in hot weather or a club without enough air conditioning (read: almost all of them). Many are very uncomfortable when you're all wet.

Sometimes I see someone I've known a while and said, "I'm all wet" just before the normal "salsa hug" greeting and some hug anyway, even after I warn them off. If a dancer has been in the scene a few years, they are much less likely to get bothered. They've seen it before and sometimes it simply goes with the territory on hot nights.

It's much less of an issue if you're in a club where everybody is soaked, because it's the dead of the summer and/or the AC can't keep up. Look around, and if you're way beyond those around you, find a previous partner and/or sit one out every so often. It never hurts to bring extra shirts and change every hour or two if you know it's one of those warmer nights.

One of my favorite clubs requires men to have shirts with collars. On those nights I wear golf shirts made from materials designed for playing sports in the hot sun. (I like the Nike Dri-Fit , but there are plenty of others.) The fabric is designed to dry faster, and some of them look pretty classy.

I go to athletic stores and look in the golf, tennis and training sections for shirts designed for outdoor, sunny events. By design, those shirts dry quicker and they feel dryer even when damp. Some are not as salsa stylish, but I'm a guy and being partner friendly is more important to me than being fashion forward.

The overall rule is: Dance with known partners, experienced dancers and/or take breaks when your soaked. Avoid the beginners and those new to the scene, as it's a total turn-off for many women when you're soaked and they don't know you.

Ladies: As a rule, most guys don't care as much and many are turned on by your hair being a little damp (or more). Few will mention this out loud, but it often reminds them of more intimate moments in their life. Guys are just not that picky overall.

Ladies might avoid backless attire on extra warm nights, but again, most guys get over it if you're wearing something that makes you feel great. Your confidence and smile are more important to most and when you feel great about your outfit, it positively impacts your attitude and attracts more guys.

The difference between genius and stupidity is genius has its limits.
--Sam Carbin

Using Your Eyes to Hear Music

2008-09-17T13:41:00.000-07:00

You've probably heard that some people like to watch, but many miss ideal opportunities to tune their ears when live music is around. Watching musicians perform can accelerate your ability to hear the music, especially the details.

When a live band is at your club or event, it's a perfect time to tune your hearing. Some people simply ignore the band and pretend a DJ is playing, except for complaining the tunes are too long. (Many times, they're right.)

If there's a live band playing at your next dance, take a couple tunes to watch the musicians individually and try to hear what they are playing. (Perfect for break times.) Visually focus on one musician at a time, matching their movements to the sounds of their instruments. You can focus on one musician for most of the tune, or visually wander around, watching the musician playing the most interesting sounds at that time. (I do both, depending on my mood.)

Your goal is to hear the sounds of the individual instruments, while mostly ignoring the other on the bandstand. For example:

Can you hear the piano sounds matching her hand movements?
Is the cowbell part matching his pounding?
You can see the bass player plucking the strings, but are you hearing the low notes that match?
Do you hear the sounds from each individual percussionist, as they strike each instrument?

Some things are easier than others, and depending on your prior experience, some musicians are easy to hear, and some are challenging. In all cases seeing them perform makes it easier to hear the sounds, and you'll be surprised what you can hear while you're watching.

If live music isn't an option in your scene, then there are hundreds of clips available on YouTube. They provide much of the same experience and in some cases are better because you can find instructional clips, focusing on one instrument at a time. Of course, the ability to rewind and replay is also a huge bonus.

The primary down side is on some clips the music and visuals are out of sync. This is usually more an issue with live band videos, where the quality of the original recording isn't always great. Sometimes the camera angles don’t allow you to see the musicians hands, and you want to see them actually playing the instruments.

Below is an instructional example I like, with examples of individual instruments playing in most salsa tunes. It's a quick introduction and is NOT comprehensive, but it will give you some good ideas. You can clearly see her playing and hear the sounds as she plays. Watch it a couple times (or more), ideally on a computer with quality speakers.

You may not hear the piano player in the music on your iPod, but live (or via video) you can see her pounding on the keyboard AND match what you are seeing with the sounds. The clip below is a live band example (same piano player). As discussed earlier, the down side is the camera person decides where to focus. Toward the end of the tune below (around 9:15 or so), the drummer is soloing, but it's clear to me the person with the camera doesn't hear it, so the visual focus is elsewhere.

Check out the piano when you can, and during her solo (~3:50) she sings some of the parts she is playing, further making the visual match the hands. I’d like a better angle on her hands, but you’ll get the idea. In a live club, you should move around so you see the piano players’ hands clearly, while they are playing. On video, you take what you can get.

Watching musicians is a powerful way to improve your ability to pick out sounds. Clips can be good, but live is often better, where you decide on your visual focus and can match the sounds.

The next time a live band is playing where you are dancing sit out a few tunes and watch. It will open up new worlds for your dancing as you advance. By definition, dancing to the music requires you to hear what the musicians are playing, even if you can't see them.

I'll post some additional visual examples I like in future postings.

Let me know what you're doing to tune your ears.

Side note: When I'm working with someone in private lessons, I rarely start with complex salsa music or even percussion sections. Most people learn faster by hearing fewer instruments, in a simpler context and build up rather than starting with complex music like the live clip above. That said, when you are around a live band or have some good clips, your eyes can help your ears grow much faster.

Related Articles:
Air Guitar, Air Drums: A One Man Band

The man who is too old to learn was probably always too old to learn.
--Caryl Haskins

Perception Tests: Can I Count?

2008-09-16T01:09:00.000-07:00

I give more experienced guys a hard time for being unaware while dancing. We all miss so much at different points, and we are not alone; our partners miss things too. The reality is we are juggling quite a bit while social dancing and it's easy to miss some details.

Beginning/intermediate leads deserve lots of slack, as it's easy to be overwhelmed with details. We are all blind to some things, but over time our awareness should be expanding from a dance perspective.

I found this fascinating perception test, and it provides some interesting insights. The person running the seminar in the clip lays out the ground rules for the test: "Count the number of passes made by the people in white shirts, while they move the basketball around." (This will make sense when you see the clip below.)

Watch the clip BEFORE reading further!
It's around two and a-half minutes.

You watched it, right? (OK... I'm assuming you're an adult and took the time.)

Researchers call the concepts in the clip by several names, including "perception blindness," "change blindness" and "inattention blindness." They all simply mean: When we focus on one area, we often become blind in other areas.

You see this all the time on the dance floor with beginners; most are naturally unaware of a large set of dancing issues. Guys may be so focused on their footwork and patterns they barely see their partners for complete dances. Ladies may hit someone in the head with some over zealous arm styling they recently learned in a class.

When we’re focused in one area, the rest of the details slip away. It's normal, and even when we know we are being tested--as in the clip above--we can miss things that seem like no-brainers when we look back.

Over time if the blindness persists, it grows to be a bigger problem, as people hold more experienced dancers to a different standard. After dancing a few years, I have no excuse for not paying attention to a much wider set of issues compared to the new guy.

The next time you see a dancer struggling and you know they're a beginner, find a way to encourage them to stay in the game. While they are focused on the fundamentals, it's very difficult to see a wide set of issues obvious to the more experienced dancers.

I didn't see the obvious in the video above the first time. I actually replayed the entire clip to be sure it really was there the first time just to verify my blindness.

I think it's a great thing to keep in mind at the clubs, where there is a huge difference between someone figuring it out during the early stages, and the ones who are unaware but have danced for a year or more.

The new dancers deserve our respect and encouragement. The guys who are clueless after being around a while need some subtle hints to take some lessons.

The question we all need to ask ourselves is, "Where am I blind, and who can I ask that I trust will be straight with me?"

If you're a beginner, don't worry about it now, since everybody has a hundred blind spots at the start. You have to walk before you can run and even if someone points out twenty things you could improve, most people need to start with simple things and build over time.

If you've been dancing a while, it's a more complex question that often requires an outside reference point.

Let me know what you're doing to eliminate your blind spots. Click on the comment link below and let me know what you saw in the clip (the first time) along with your thoughts.

A couple related articles:
Unaware Club for Men
How Long Before I Get Good

San Diego Salsa Congress: Sept 19-21, 2008

2008-08-31T23:05:00.000-07:00

San Diego California has a world-wide reputation for great weather, and it's a great tourist city. They've been growing a strong crop of salsa dancers for many years as well, and I hear good things about their progress.

In the third week of Sept they are having their second annual San Diego Salsa Congress. I have zero connection with the event, other than knowing there is nothing like taking classes during the days and dancing all night for a few days in a row.

Some excellent instructors and performers are scheduled to attend, and San Diego is always a great place to visit, even if you simply took in the ocean views and enjoyed the amazing weather.

Being totally focused on dancing is a real treat and a great way to improve quickly, so check it out if you can get away for the weekend starting September 19th, 2008.

Click here for additional details.

When you go to events, you might want to check out these articles I wrote at while ago. They provide tips and tricks for getting the most from any salsa event, especially if you are new.

Most of the tips also apply to attending new clubs, because the social aspects apply to all situations. The third article applies directly to the ladies, and is club focused, but the principles overlap so I'm including it in the list.

Previous articles:

Breaking In at an Event or Congress: Part 1

Breaking In at an Event or Congress: Part 2

Why Don't the Guys Ask Me? (focused on ladies and clubs, but applies to events also)

PS: Again, I'm not associated with or teaching at this event.

Proud Dad! Sarah Palin Interview

2008-08-29T09:00:00.000-07:00

This is totally off subject and I'm simply bragging big time.

My oldest son Donny interviewed Sarah Palin (the new VP pick for McCain) about a year ago while broadcasting a minor league baseball game in Alaska.

He had almost no time to prepare for the interview, because he didn't know she would be at the game. He decided to ask her if she would stop by the broadcast booth. She surprised him and said "yes". He Googled her during the game and then took it from there when she arrived in the booth.

It's short and sweet. (His interview went from 500 views to 7500 views in the last couple hours...)

Update, Tuesday Sep 15, 2008: Time.com just linked to his interview and a blog on the Yahoo MLB site added a link. It recently went over 140,000 views and it keeps growing. It will be interesting to see where it goes from here.

Side note: I do NOT want get into a political debate in my dance blog. I'm proud my son did this interview on the fly, and I'll delete comments that become political in nature.

We'll return to your normally scheduled dance topics in the next post!

Cross-Training other Dances

2008-08-25T23:21:00.000-07:00

I'm curious!

Usually I write articles, provide my perspective and get a couple comments. This time I'll provide a little of my perspective, but I really want your input on cross-training (or not).

When I started dancing at age 44, I had never danced once in a club. Today I cross-training in other dances and I find it extremely helpful. My balance, body control, spins and other foundational moves continue to grow over time. I feel I'm just getting started, and see the biggest pay-offs ahead of me.

I originally started taking salsa aerobics classes around 5 years ago to lose some weight and improve my fitness. I never dreamed of taking dance classes. I didn't even think about partnering until a few months into it the instructor invited me to a partnering class outside the gym. That was the start of my unlikely journey into the dance world.

Today, taking other styles give me a set of intended benefits, and I've discovered a world of unintended positive benefits. I regularly find insights that make my salsa dancing better. For example, I see the stronger salsa spinners employing techniques that are standard fare for jazz and ballet dancers (with minor modifications).

I'm learning footwork and body control that others learned dancing at high school parties, club dancing or in what I call “foundational dances” (jazz, ballet, ballroom). By the time I hit high school, I was already playing the music and watching dancers, but never dancing myself.

In my case, these cross-training dance classes provide a structured method for building up my weaknesses and providing sound foundations for growth.

I'm wondering how many others regularly take dance classes outside of partner salsa or dancing at the clubs?

For the record (since I'm asking you to answer some of the questions), here are my responses to get the ball rolling:

I'm currently taking three jazz and two hip-hop classes each week. The jazz classes are all with the same instructor, and the hip-hop is with another instructor. Two days a week the classes are back-to-back, first the jazz, then the hip-hop class (an intense workout but most of the time it's a blast!) I have dramatically improved my strength, flexibility, balance and basic body control, and I’ve lost some weight.

Many of my improvements do NOT show up today in my salsa, but I see it as a longer term foundation. I started these other dances because when I analysis the leads favored by the world class follows in know, the vast majority of their favorite leads have a jazz, hip-hop and/or traditional Cuban street salsa experience in addition to strong New York or LA style components.

On a parallel track, my favorite musicians tend to be highly cross-trained, although in any one setting they sound like they specialize in one style. Their cross-training gives them insights that are rare among single style players. I originally took it on faith that the same would apply from a dancing perspective, and I see that playing out over time.

I call this concept "back-filling," where I'm filling holes in my dance education that others filled when they were younger. Many world class follows have experience with other dances, including jazz, ballet, hip-hop, gymnastics and/or cheer leading in addition to dancing salsa. Most cross-train other dances as they grow, stealing great techniques from other dances and applying them to salsa.

Now I’m my curiosity about your other dance training. Click on the "comments" link below and add your thoughts on cross-training, including your pros and cons.

Some other questions I have (please answer one or more, as you see fit):

What types of classes are you taking?
What benefits do you see or hope to see?
How often do you attend classes?
Why did you start the other style/dance?
How long did it take before it made a difference for you?
Are you planning on other dances in the future and what are they?

In other words, what do you do to grow and why? Feel free to go outside my questions above, those are to prime the pump but are not intended to restrict you to a specific type of answer.

Short or longer answers welcomed!

I look forward to your comments.

You are what you eat. Which makes me cheap, quick and easy.
--Dave Thomas (Wendy's founder)

Clave Primer: Blasts From the Past

2008-08-20T23:13:00.000-07:00

I'm writing an article on the magic of clave and musicality, and it's not trivial. I think it will end up in two or three parts, because there's so much to cover. Usually I write something, and then I try to cut it in half during the editing process. It's possible this will happen again and it will be one short article. I'm not holding my breath.

I realized I wrote a couple of articles on clave over a year ago, but since I only had seven readers back then, it makes sense to remind you of these articles. I'm expanding these concepts and debunking some of the current clave myths I hear regularly.

If you happen to be among the seven that were following this blog last year, you might want to check them out again, as the information is timeless. (I can say that, because one of the articles was written by someone else, with additional commentary from me.)

If you are newer, then you'll want to read them as they will provide some solid information for your reading and dancing pleasure.

Check them out and let me know your thoughts.

Clave Articles from 2007:
Clave and the Ever-Changing Salsa Dance (June 07)
Clave: More Than Most People Want to Know (Sept 07)

Victory goes to the player who makes the next-to-last mistake.
--Jackie Mason

Bachata Part 2: Lovin It Close?

2008-08-18T11:22:00.000-07:00

This is part 2 of a series. Check out last weeks "Gatta Learn Bachata" before or after this article.

Bachata is often danced as a contact sport, but that's certainly a choice.

In one of the comments on my previous bachata article, Joe mentioned "partners who don't want to dance close are missing out."

My first thought was: "Maybe... If she’s comfortable with you then she’ll enjoy your amazing journey, otherwise she’ll be mentally fighting you the whole time. As a lead we should earn their trust before getting too close.”

Too many guys abuse the close concept, getting very close too early because they want to be close and bachata is the perfect excuse. This same concepts apply to salsa, but since it’s not usually danced so close, it’s less of an issue.

We need to be competent enough to lead open bachata moves very well, respecting that some partners are not going to enjoy the dance if we are too close too soon. Some may never want to dance close and I'm fine with that.

Be sure it’s a mutual thing, and she wants you as close as you want to be. I’ve seen some amazing dances that stayed primarily in open position, and both partners had a fun, sexy dance. You can mix open and close depending on the situation.

Of course, anytime we can hold a woman close, we are likely to do so. That’s just part of our natural leader instincts. However, if it’s done without a mutual connection, it can quickly backfire. Most guys don’t pay attention to their follows response, but you can see it in their face and body language if you’re attentive.

This is also interesting to watch when you are taking a break and watching others. Figure out which follows are enjoying the close dance and which are hating it or simply pretending they are fine with it. If you watch enough it will become pretty obvious to you, and then you'll recognize the signs with your partners.

Don’t assume that if she is close to another guy, she will love being close to you. That couple may have had twenty dances over the last six months, and that is a different class of dancing than partners with just a few dances.

Close is fine and appropriate for repeat partners, but I still see lots of guys who don't get a second dance because they think doing their great close moves will seal the deal. That will occasionally work, but anything works some of the time. If you play the odds, a measured approach is a stronger strategy.

Just to be clear; If you and your partner want to be as close as lovers on the floor, go for it. It’s also appropriate to start more open with new partners and get closer as the dance progresses or during one of the follow-up dances.

Your job as a lead is to have her want you to be close, because it feels great for her and she’s enjoying your lead.

Ladies: Your thoughts? (Guys are welcomed too.)

Reality is the leading cause of stress amongst those in touch with it.
--Lily Thomlin

Gatta Learn Bachata

2008-08-14T10:19:00.000-07:00

Bachata has been the perfect break song for me at the clubs. The song starts, I get some water and rest a few minutes before the salsa fires up again.

They don't play many bachatas, and by the time they do, I need a break anyway. I hadn't bothered learning much about it but I see a tipping point happening. Bachata is replacing cha-cha-cha as the number two Latin dance in many clubs.

I'll go on record as saying bachata will share equal time with cha-cha-cha, and probably take the number two spot in many scenes over the next year.

Many salsa dancers look down on bachata. Just like some jazz dancers look down on salsa dancers, believing it's easy and a street dance. The music is simpler, the bachata basic is not as complicated, and the hip/leg-kick stuff can look downright feminine if a lead is not careful. Not a look most guys want.

I have a salsero friend who hates bachata, mocks the little leg kick thing, and starts swearing about the DJ if they play more than one bachata ever hour or so. When they play two in row, he'll go swear directly to the DJ, asking them when the salsa is restarting.

He just hates it. But I think he's missing the point and swimming against the tide.

The ladies really like it overall (unless an unknown guy gets too close), and they can be lead through an interesting dance by any decent bachata lead. Most guys can be "decent" in far less time than salsa, and like it or not, it's becoming more popular each day.

Edie the Salsa Freak and Jorge Dancing Bachata

Rather than fight the trend, I'm going to work it and I recommend you do the same. At the summer Salsa Mambo Festival, the bachata classes were very popular, and when they played bachata tunes during social dancing, the floor was 70-80% as full as the salsa songs, and right up there with the cha-cha-cha tunes.

That's a big difference from just six months ago, where there was lots of open space during the bachata tunes.

By the time the New Years Salsa Mambo Festival is here, I'll have my bachata chops in order. I've started watching Edie's two bachata DVDs, and realized it's not a big deal if you already do some regular salsa social dancing.

You can dance it real close, real respectful or anyplace in between if your partner is on the same page. Guys, be sure you pay attention to your partners response, as I've seen many guys really turn ladies off by being too close for comfort.

On the other hand, if you're a very good bachata lead, (not that tough in my mind), some are happy to dance closer than I'd expect. It's a matter of making good choices and paying attention to your partners responses.

It makes sense to get your act together, take a class or two, and/or follow my lead and purchase a couple DVDs to get you started. Experienced salsa dancers will be competent in minimal time (compared to salsa), and like any dance, you want to become "above average" because partners love dancing with those people.

If you become excellent, you'll find a wide set of partner choices, because while many are doing it, only the minority are doing it really well. That will change over time, but today is your chance to get ahead of the curve.

It may not have been my favorite in the past, but it's time to move beyond the "it's break time" mentality. I see it as a fun dance, and the challenge is to make a great connection rather than a complex dance.

Taken to a higher level, you'll find a great connection, musicality and body motion is the essence of the dance, with a wide pattern vocabulary a distant third. In other words, it provides an excellent vehicle for improving your connection, musicality, Cuban motion, leading techniques, and timing. All those elements will carry over to improve your salsa.

Time to make it a part of my dance vocabulary and I recommend you check it out too.

Let me know your thoughts on bachata becoming more popular. Are you seeing similar trends in your scene?

A life spent making mistakes is not only more honorable,
but more useful than a life spent doing nothing.
--George Bernard Shaw

Mirrors: An Excellent Tool

2008-08-09T22:28:00.000-07:00

Right after finishing a dance at the Salsa Mambo Festival, someone said to me, "Wow, your last partner dances great and looks really sexy! But she would look so much better if she didn't do that 'funny turn-out thing' with her feet. That would be so easy for her to fix, I wonder if she's ever seen herself dancing?"

My first thought was, "I doubt it, most social dancers don't learn salsa in a location with mirrors." I also noted that I didn't notice the “feet thing” that was mentioned, probably because I don't normally watch my partners’ feet during a dance.

All I remembered was a great dance. But it did make me think about mirrors and practicing.

Most women take a limited set of lessons before they simply dance, refining their following skills by dancing with a wide set of leads. Many take some classes at the clubs before the social dancing, and mirrors aren’t a normal part of the club scene on the dance floor.

Guys are even less likely to learn in a room with mirrors. The vast majority learns by watching other guys at the club, taking a few club lessons and/or viewing clips on the web.

Foundational dances like jazz and ballet are almost always learned in rooms with mirrors. Those dancers see themselves in the mirror every class, often weekly for a few years, seeing their moves and the lines they create with their bodies.

Salsa dancers should consider doing the same at points. Classes held at dance studios are almost always in mirrored rooms, so taking some classes at a studio is a win for most people. Or get a mirror at home you can use for practice.

(Last year I discussed mirrors at home in this article: “Practice Space and Spousal Upgrades”)

Most of us quickly realize that moves that feel good to us don’t always look the same from the outside. With minor tweaks they can be much, much nicer. Often just being aware of the issue allows you to enhance the move on the floor next time, especially if you've been dancing more than a few months.

If you want to refine your look and feel quickly; it's mirrors, video or both.
Without the visual feedback, it's easy to overlook simple things that everybody else sees from their outside perspective. Getting your smiling face in front of a mirror every so often can make a huge positive difference in your dancing.

That way people can say “Wow, you looks great” and leave off the comments about the minor issues you already fixed. Just seeing yourself allows you to make the adjustments before someone else points them out.

Let me know about your personal experiences with mirrors (and/or video).

Related Articles:
Video Yourself Often but Be Kind
Practice Space and Spousal Upgrades

My friends tell me I have an intimacy problem,
but they don't really know me.
--Garry Shandling

Ugly Guy, Beautiful Women: Salsa Parallels

2008-08-07T15:13:00.000-07:00

Did you read the report that says the better marriages are often the ugly guy with the beautiful woman? Click here for FoxNews article.

The marriage concept has a parallel in the salsa world: The more mature leads don’t overshadow their partners, even if they could. She should always look better than you on average. By the time the dance ends, she should feel like a winner.

You may be a great, gee-wiz dancer, but news flash to the guys: It ain’t about you directly! Think of yourself as a director or executive producer. You get indirect glory by allowing your partner to shine.

When you do show off, don't do it for too long. By the end of the dance she should feel like she was the focus of your joint production, even if you're seriously more advanced than her. You may be the director, but she is the star on the team. When she shines brightly, you look even better.

I saw a perfect negative example of this last week at the Salsa Mambo Festival (SMF). Shani Talmor was dancing with a very experienced Salsero (NOT shown in the clip below!)

Shani Talmor social dancing with Cristian Oviedo

Watching the above clip, it's obvious Shani she can hold her own in the dance/shine department. She’s an amazing dancer and one of the best follows around. Cristian does a great job showcasing and complimenting her. In the clip they are social dancing; unrehearsed and just having fun in the moment with the music.

At the SMF, a different experienced lead (who will remain nameless, again: NOT Cristian) was social dancing with Shani. He had wide range of mature, complex partnering moves. He also had a ton of fast, impressive footwork he had clearly worked on over the years.

At one point the lead spun her out and they started solo dancing. Unfortunately, the lead seemed to treat the shine section as a contest with her rather than a dance. He started. She increased her intensity to match him, he raised the bar, she matched him again, but then he moved into energizer rabbit mode, increasing the intensity again and again.

The shine lasted much longer than normal. The more she worked to compliment him, the more he turned up the intensity, until at one point; she simply stopped and watched for about 4 bars, as if to say "OK, you win".

The lead was so into his show, he didn’t see her stop at first.

From where I was I could see her face, and it wasn't "wow, he's good", but rather "What the heck" (maybe more on the "WTF" side, but I doubt she would say that out loud). She shook her head for just a second, before reverting to her professional side and pretending she was cool with it. But she didn’t restart until he got the hint, shined over and picked her up for more partnering.

In other words, rather than extend the competition, she waited for him to finish the near madness, pick her up and completed the dance as partners. I'm guessing he got carried away and wanted to impress her, but actually stepped over that line from impressing her, to exasperating her. (Not exactly where you want to be.)

The music didn't say "maximum intensity" mode, and at one point she clearly had enough of it. It was obvious to experienced observers that she wasn't having fun, although she was a true pro about it. She had no problem keeping up; it was more, “why bother?”

There's nothing wrong with showing your cool stuff, but if it's way out of character with the tune, or inappropriate with your partner, do it for a few bars and then tone it down a bit. Less can be more, especially after you quickly demonstrate that you could increase the complexity, but choose to go a different route.

In contrast, I also saw Shani dance with some beginning/intermediate leads and she totally toned it down. She did amazing, complimentary stuff and keep it sensual, but avoided her sexy, "burn the house down" moves. She made her leads look much better, and the guys loved it. She appropriately complimented her partners, scaling up and down based on their lead.

Make no mistake, when the lady shows off more, the leads tend to eat it up. In reverse, that concept doesn't work so well.

If you have a set of very well rehearsed shines or complex moves, be sure you have the right partner to showcase them and the music makes sense for your intensity level. Contrast all the flash with some finesse moves, keeping her squarely in the spotlight.

To paraphrase Edie the Salsa Freak: The mark of a superior lead is making his partner feel great, and allowing her to make you look great. You can do that as a near beginner or very mature lead.

The last thing you want to do is look better than her the whole song. You may be the ugly guy, but that won’t prevent you from dancing with the better follows if you handle it correctly.

First-rate brains hang around with first-rate brains;
second-rate brains hang around with third-rate brains.
--Leo Rosten

Recovering from the Salsa Mambo Festival

2008-08-01T00:25:00.000-07:00

I returned home early Monday morning from the Salsa Mambo Festival in Palm Springs. Today (Thursday) is the first day I feel "normal" again. Too much fun, too little sleep.

It was a sleep deprived long weekend, which started with me leaving home early last Thursday afternoon, teaching Thursday night (Intro to Salsa) then teaching and dancing for three more days straight. I taught two 3-hour bootcamps with Edie the Salsa Freak, my musicality class (listening/understanding the music), grabbed some naps and food, then danced until around 2 or 3 each morning, repeating until time to leave early Monday AM, after about 4 hours of sleep.

A great time was had by hundreds of people. I danced with total beginners and some of the world-class performers. It's interesting leading someone dancing their first weekend, then fifteen minutes later partnering with follows that were the featured performers, with years of experience across hundreds of leads. I also had a set of great dances with people who have attended in years past, and it was fun to see how much everybody has improved over time.

My partners ranged from around age eighteen to seventy, with an extremely wide range of experiences. As I'm writing this, I realize I was never turned down once over the whole weekend.

I have four articles in draft form based on ideas I had at the event. They need some polishing but I expect all to go live within the next week. I have some photos to upload and some video was shot at the event as well (I haven't recieved my copy yet, so I'll post stuff when I get it.)

If you are looking for a great time this next New Years Eve, this bi-annual event is worth your time. I expect them to sell out the hotel again, so book early (use "Baarns" in the referral code, then I get enough for a couple cups of coffee...)

If you attended last weeks event, please leave a comment and let us know your experiences.

Consciously or unconsciously, you always get what you expect.
--Robert Anthony

The Best Time to Learn

2008-07-21T00:15:00.000-07:00

Maybe you've already heard:

"The best time to learn salsa was twenty years ago.
The second best time is now."

(I love this Chinese proverb! Sam contributed it via a comment in another article. While I doubt the Chinese really were talking about salsa, I'll take the creative license excuse.)

Maybe you can relate: Many, many, many, many times I've wished I had started dancing years earlier (decades in my case). For a hundred reasons I didn't start earlier, so I have to simply say to myself, "Too bad... you didn't do it then, so shut up, practice, and make the most of now!"

It's easy for me to see all the younger people dancing up a storm and wishing I had understood the fun available in the dance world. But I didn't. I was having a great time in the music and business world, so at that time I was focused there.

I don't mean to complain about my background, my previous experiences help many aspects of dancing over time, but it doesn't make learning some patterns, connections or shines any easier.

Maybe you're similar. Maybe we should have started earlier. But so what? I didn't. If you did, more power to you. Otherwise, the harsh reality is "too bad!" and then move on. It may be tougher when we are older, but it's worth it. We're building strength, coordination, balance, mind-body connections and other helpful skills that pay off as we continue to mature.

Sure, sometimes I wish I had started this path earlier, but life is easy in the rear view mirror.

If you are not pushing yourself and tuning your dancing, now is the time... Just do it and do as much as possible. Practice when you can, keep growing all the time, and enjoy the ride along the way. If you simply keep doing it, the rewards continue to grow over time.

You will be fitter both mentally and physically, you meet lots of interesting people and learn more about yourself. You'll look and feel better, interact with people than otherwise possible, and improve the overall quality of your life.

It's too bad everybody doesn't partner dance, the world would be a better place. Until that happens (don't hold your breath), at least you keep at it, even when it seems like it would have been more fun earlier in life. Most of us wish we were better today, but at least we can be stronger tomorrow, and that's a major win if we continue down that path.

Let me know what you're doing to move yourself forward and stay in the dance game.

Most problems precisely defined are already partially solved.
--Harry Lorayne

When Followers Do the Unexpected

2008-07-19T00:24:00.000-07:00

How do you handle it when a follower misses your lead?

My goal is to totally hide the fact that she missed something. Others should think her response is exactly as expected. I simply try to find something that fits with where she left off, even if it’s completely opposite of my original intent. Occasionally it creates something humorous, or amazingly creative, but that's just part of the magic of social dancing.

In an ideal world, nobody outside of me knows something was missed. When the "alternate ending" works perfectly, even my follow wonders if she missed something. Sometimes she just thinks my combination is a little weird or “unique”, even though it’s actually covering for a missed communication.

I expressed this thought on a dance forum I monitor and here’s part of a response I received: “I wish more leaders had that mindset. (And followers, too). With many leaders I feel I like I'm in some sort of exam and must do everything right which puts me under pressure. The most fun dances are with those leaders who make me feel like I was a great dancer (which I'm not) and when I do notice that I missed a lead, it doesn't matter. We laugh about it and missing the lead becomes part of the fun of the dance.”

This follower felt pressured to have everything right, rather than enjoying the dance. Obviously this isn’t my idea of a great partner dance. As a lead we want her feeling comfortable so she can do her best, which also makes us look better and everybody wins.

For me, I try to lighten up when I find someone is struggling a little. A little humor or a “it’s fine” smile goes a long way toward reducing the stress level. It's a dance, not an audition, and she'll remember you positively as she advances.

Maybe my music background helps. Things go wrong on stage. Equipment breaks in the middle of a song, I drop drum sticks, the singer starts at the wrong spot, someone counts a tune too fast or slow (usually me) or a soloist plays twice as long as expected. You name it, if you're on stage enough, anything that can go wrong, does...

I learned that handling the unexpected in a positive manner marks you as a pro. Smiling and pretending things are fine while you recover (and after) can go a long way toward making things better.

Once you ask someone to dance, then it's your responsibility to dance within her comfort zone. Leaders need to find materials that are fun but doable when they get a less experienced follow.

Sometimes it's a positive challenge to do a simple, quality dance with reduced complexity. When she doesn’t know a specific sequence, see what you can do to make it look great anyway. You may discover an alternate ending, or maybe find something more interesting than your stock sequence.

Missing moves is simply part of social dancing, and the marks of great leads is how well they deal with things that don’t go as intended. Keeping your head straight, smiling, acting like a gentlemen, finding creative ways to recover, and not letting her know she missed something is a win in the social scene.

Let me know what you do when things don’t work out as expected.

Humor is the great thing, the saving thing. The minute it crops up, all our
irritations and resentments slip away and a sunny spirit takes their place.
--Mark Twain

New Salsa Documentary: Intro to the Dance

2008-07-14T21:25:00.000-07:00

A few months ago I was asked to film a short interview for a Salsa documentary being produced by an LA film producer named Kate Thomas. It’s called “A Gozar (To Enjoy): An Introduction to Salsa Dancing”

It’s impossible for me to be objective about the results since I have a few moments. During the filming we talked on camera for about 3 minutes and then I'm edited down to a few sound bits along the way. It’s a great thing to send to your friends who are thinking of learning salsa, but keep putting it off.

Let them know now is the time to get started, and anybody is welcomed, even if they think they aren't great dancers now. Nobody cares and they can have a great time even as they get started.

Point out to them that you can be older (or younger) than most, non Latino, and a complete novice dancer and still end up enjoying the scene, even while learning. (I'm living proof.)

Maybe this film will help them get off the couch and join you at the club for some fun. (The Salsa Mambo Festival is a great place to start and/or dramatically grow your current dancing.)

Check out the documentary and let me know what you think.

An overnight success usually takes around ten years.
--Sam Carbin

Salsa Mambo Festival - Palm Springs - July 24, 08

2008-07-10T16:07:00.000-07:00

We are now two weeks away from the best summer salsa event in Palm Springs, California. There is also a New Years event each year and they both have become favorite events for a huge set of people. (Disclosure: I've been teaching at these events for around 3 years now, and I'm teaching musicality and some other classes as well.)

You can get all the details at http://www.salsamambofestival.com/ (discount ends July 15th, so check it out now).

If you haven't checked it out yet, this is the time to act. There is nothing like having a few days totally focused on dancing. Workshops and pool parties in the day, dancing until 3 am each night.

Get up, eat, dance workshops, nap, salsa by the pool, nap, eat, dance, nap, dance and repeat the next day.

It' s interesting because if you're a beginner, you can dance with people from around the world, some who are also just starting, but many who have years of experience. The snobs tend to avoid this event, because the promoters work so hard to make it fun for everybody. I've seen Edie the Salsa Freak dancing with total beginners, and having a great time.

The instructors and performers are required to dance with anybody who asks. This means YOU can decide which stars you want to dance with, and they won't turn you down.

Beginners make huge improvements with the workshops, and the experienced people get to really refine their game, with a large set of seasoned pros. While I love the learning aspects, I'm addicted to seeing all the great people I've meet over the years. Some have improved, some haven't, but we always have a great time, because it's about the people. They always improve over the weekend, so it's a great time to tune-up your dancing as well.

When you sign-up, use "Baarns" as the referral code, (yes, a shameless plug), and be sure to say hello to me. I can't wait to dance with all my friends I only see twice a year and meet a new set of friends as well!

I'm still sporting my timeless gray hair, so I'm hard to miss. Be sure to say hello and tell me your thoughts on this blog. I'll be there all four days having a blast and I hope you're there too.

Left or Right Brain? Should I Care? Part 2

2008-07-10T15:13:00.000-07:00

This is part 2 of the series. I recommend you check out the previous article before reading this one. Take a minute or two and view the spinning dancer before this article for best results. Click here to read part 1.

In the previous article, it’s interesting to find different people seeing the same graphic differently. While there’s some controversy about the accuracy of this graphic helping you to define left vs. right brain dominance, most people have a dominate side, with some more extreme than others.

The spinning dancer works because it doesn’t provide complete information. Your mind fills in missing information, and the still shots (below) highlight the two ways you see the same images. The white lines are what your mind is filling in for you, providing your sense for the turning direction. With the white lines, the extended leg is clearly in the front or back, rather than being left to your imagination. I’ll provide more info on the original graphic and the brain relationships in part 3 of this series.

Spinning Dancer With White Lines Added
While it’s natural to have a dominate side of the brain, dancers want both sides of their body working together, creating balance.

In other words, in a perfect dance world dancers would be more ambidextrous, with emphasis on the word “more”. After learning a motion or dance skill on one side or direction, dancers want to easily mirror the movement with the other side or in the opposite direction. Once you’re spinning comfortably in one direction, ideally you want the same ease and grace spinning the other direction. Easier said than done, but the overall concept is to build more mind/body balance and coordination.

How can you help this aim of being more balanced and ambidextrous while off the dance floor? It’s deceptively simple; take your regular, mindless, day-to-day life skills and practice them with the opposite hand (or feet if appropriate).

If your right hand dominant, try moving your fork to your left hand for a month. If you’re primarily left handed, obviously you’ll try the right hand for a while. (For many it will also become a low-cost diet plan, since eating with the opposite hand often slows you down.)

Eating is a great place to start, but don’t try this the first time with your glammed out salsa outfit. Napkins and/or a bib can be helpful and most people are amazed how simple movements we take for granted are not so simple with the other hand. Start with a few changes and add over time.

Your goal is to take everything you do mindlessly, and start doing it with your non-dominate hand until switching is mindless. In some cases that will take two weeks, but some activities will take months or years. So what? You were going to do them anyway, so it’s not some huge time sink and it benefits you in the long run.

There are so many things we do with one hand we don’t even pay attention to how we do it. I make a game of it, trying to see how many things I can do with both hands. For me this started in high school (too many years ago) where rather than paying attention, I would write the alphabet in block letters with my left hand. My teachers thought I was taking great notes, and instead I was learning to print left handed.

If you grab a glass with your left hand, try drinking with your right hand instead. Squeeze toothpaste with your other hand. See how many things you can do off the dance floor, and over time it will make a positive difference on the floor. It also builds your brain power, creates new mind/body connections, and improves your eye-hand coordination skills. In many activities I’m functionally ambidextrous, but I’m always working on improving the mind/body connections.

I’ve read that building these skills does make you smarter, but you can’t prove that by me. In theory, anything you do to build new skills exercises your brain and is a long-term win.

Here are some starter ideas that I do regularly. Pick a couple that seem interesting to you and then add your own. The more you do, the easier it gets to add another. In my case, my “other hand” is my left hand; since my right hand is more dominate. One of my life goals is to be as ambidextrous as possible. Try these:

Eat with your fork and knife inverted (the knife took me a while)
Stir yogurt, coffee, tea or other food or drinks, stirring with your spoon in the other hand
Drink with your glass in the other hand
Cook, stir, and prepare food with the other hand (avoid cutting off fingers while learning)
Use your other hand to work the remote control with watching TV
Move your mouse to the other side of your keyboard or desk and switch hands
Brush your teeth with the other hand (invert the toothpaste squeezing too)
Shave with the other hand (best with electric razors, although manual is possible if you are careful)
Brush/comb your hair with alternate hands
Spray hair-spray, cologne or perfume with either hand
Put on lip balm, lip-stick and/or makeup with both hands
When you have paper and are sitting, try writing the alphabet and/or your name with your other hand (triangles, squares, circles and stick figures are also great practice)
Create text messages with both hands or just your non-dominant hand
Hold your phone to the other ear, dial any numbers with your other hand (not while driving)
Tie your shoes with the loops going the other way
When using chopsticks, switch the hands holding them
Going up or down stairs, start with the other foot (most people start with one foot or the other consistently unless they think about it)

I could go on, and that’s just a partial list to get you started. I’ve done almost all of them (I don't remember doing make-up) and you’ll think of a hundred more once you get going. And again, your goal is to provide yourself with more control over your body so when you dance, you learn moves faster than before, without investing normal practice time. Utilize your dance practice time for mastering the cool moves, and the more skilled your body is at movement, the faster you grow as a dancer.

To remind myself to practice switching hands, I like to move my wristwatch to the other arm. When I got my first wristwatch as a teenager, I wore it on my left arm. Today I switch it to the other arm, reminding me each time I look at my watch to do things with my less dominate hand/arm.

This system will not yield results overnight; but it’s a very low cost way to build new movement skills outside the dance floor. It’s a great mind/body connection game, it helps you long-term and it will improve your ability to learn new movements. It stretches your mind and builds your overall coordination, which benefits you both on and off the dance floor.

Give it a try and let me know what you think. I hope to hear about the activities you find to build your body balance.

Unless you try to do something beyond what you have already mastered,
you cannot grow.
--Ronald Osburn

Growth Is Not Always Constant

2008-06-25T11:47:00.000-07:00

Ever felt like maybe you’re not cut out to dance? You're practicing something that seems easy for everybody else, and it seems out of reach for you.

I’ve had those moments, and it’s simply part of learning. Sometimes we have to shift gears mentally, find a different approach, and take a few days or more to work though more challenging materials. In the end it’s worth it, but some days are not as simple as others. If you never have tough days you are either exceptionally gifted, or you are not pushing yourself to grow. I’ve missed the exceptionally gifted gene, so I’m in the “pushing myself” mode.

While I teach quite a bit I also take lessons myself, especially in areas that are not my strengths. In addition to building a broader dance foundation, it keeps me humble, it pushes me in new directions and it gives me additional perspective on the learning and teaching process. I certainly relate with my students who are struggling with some aspects of dance.

The other night I was my own advisor, reviewing something I filmed at a recent private lesson. I had to say the same thing I say to students, except to myself. (Anybody else find it easy to tell others something and realize the same advice applies to you?)

I had one of those “gee… this should be easy…” and “maybe this is too tough for me” and finally the “maybe I’m simply not a dancer” moments. But we all know that the dirty word for advancing is spelled “p-r-a-c-t-i-c-e,” and that doesn’t mean just one night or a couple hours one time.

Regular, consistent practice over time makes a huge difference, even if there are moments along the way that make you wonder.

So what did I do? I practiced for about 15 minutes, took a break, and then did a little more. Not killing myself or beating myself up for lack of progress, just a little more practice so I could end on a positive note. I also realized that doing the same exercises to slower music might help, and that made a positive difference.

Slower practice is sometimes much harder than it looks, but for many moves doing things slower gives you time to make more adjustments.

When you’re not getting it, sometimes it’s OK to just chill out and not worry about it for today. Try to slow it down, do a shorter practice, but return to the exercises as soon as possible, with another short practice. If it’s working, keep going; if not, repeat the process of short practices over a few days. Sometimes you simply have to go do something different, unrelated to dance. (That's how I started this article.)

I’ve seen it over and over with others, and in my own practice; almost anybody can master any dance skill they decide they want, assuming they to put in enough effort. This concept is huge in social dancing, where perfection isn’t the game, but making a great connection with your partner is more important. You improve for yourself, and you can set any standard you desire, but that doesn’t mean you’ll always have great days practicing.

(Competitive dancing is another subject, requiring a stricter mindset, but similar concepts apply IF you are willing to take the time and effort.)

When you’re having your tough days, cut yourself some slack, try things slower or faster, cut your practice time and/or do some “fun” dancing, something you previously mastered that was hard in the beginning.

As a rule try to end your practices on a higher note even on your down days. Do something positive and fun just before you take a break. Everybody has occasional down periods; just don’t let them keep you down. Remember, that dirty word called “practice” doesn’t mean being miserable. We all have to find ways to work through the tougher materials, while keeping our overall attitude positive.

Let me know how you work through tougher periods or learn challenging materials.

The person who says it cannot be done should not interrupt the person doing it.
--Chinese Proverb

Classes vs. Privates - Part 3

2008-06-18T11:23:00.000-07:00

I wrote about this subject last year but I want to revisit it again. See the previous article links at the bottom of this article.

I’m often asked if private lessons are better than group classes, especially since classes are much cheaper in terms of one-hour costs.

My answer is always take both if you can handle it. In classes instructor simply can’t focus on your specific issues, so they make generic suggestions and hope you fix yourself based on what you’re seeing and feeling. Of course, you can make huge improvements in a group class, but it’s easy to miss something that is obvious to great instructors. Here’s something that happened to me personally.

I’ve been taking a one-hour class from an amazing hip-hop dancer/instructor named Sho-Tyme once or twice a week, for a few months. (View video below to see him having fun.) Earlier this week I took a one-hour private lesson, and within the first 10 minutes he showed me a posture/head isolation exercise to correct something I was missing. When I get it right, it’s amazing how much better I look and feel.

He also gave me enough material for a couple months of practice. I already see a positive difference, although the real payoff will be down the road as I practice and grow into the concepts we practiced in private.

Sho-Tyme Having Fun

Unfortunately, I’ve been practicing some moves slightly wrong since the beginning of his classes, and now I’m starting the process of “unlearning” them and getting the right feel. I need some intense practice time to internalize the details and make it a part of my dancing. Intellectually I “get it”, but undoing my previous practice makes it more of a challenge that it should be.

In other words, in class, I thought it was right and getting better each week, but I missed something rather basic. Instead I was reinforcing an ugly habit every class, not to mention my own out of class practice time.

I was making positive progress in many areas. But because something foundational was weak, more class practice was also making some things worse and I was unaware of the issues.

In my case, I actually thought I was doing things right, but there is a specific motion I totally missed. In my head I was getting it better each week, but in hindsight I see it’s a case of “I didn’t know what I didn’t know.”

I suspect I eventually would have figured it out, but I hate to think of the work to unlearn/relearn if I continued to practice incorrectly for another three to six months or more. It's so easy to miss something that should be a part of your dancing, especially when you are working hard to improve.

If you’re taking a class from a great instructor, take some private lessons with them and ask them what they would suggest to upgrade your look and feel. Ask them to focus on foundational issues, rather than the cool move of the week. Those you can pick up in class if your foundation is strong. A few lessons can make a world of difference, because they are exclusively focused on your strengths and weaknesses.

It’s obvious to me I would have benefited from taking the lesson sooner, because then I’d be reinforcing the right moves practicing in class and on my own.

Once you find an instructor you like, I’d recommend you take some private lessons as soon as you can swing it. It makes a huge difference by giving you insights, concepts and details that often take months or more in a group class.

Even though I’ve known this concept for many years, it’s still humbling to see it in action myself. Hopefully you’ll avoid my mistake.

Previous articles on this topic:
Classes vs. Privates – Part 1
Classes vs. Privates – Part 2

For a list of all the ways technology has failed to improve the quality of life,
please press three.
--Alice Kahn