Skippy Blair's DANCE BLOG

Matching Resistance in Closed Ballroom Position (video: 3 min., 23 sec.)

2008-02-22T16:33:00.000-08:00

To create a “connection” with your partner in the closed ballroom position, it’s important for the lower part of the follower’s left shoulder blade to “match the resistance” into the leader’s right hand. The follower can accomplish this by pulling her left shoulder back and down, pressing into the leader’s hand. If the follower does not match the resistance, the leader finds it much more difficult to lead.

“Matching the resistance”, is also known as The Law of Opposition. It tells us that every action has an equal and opposite reaction. A push meets with a push. A pull meets with a pull. In dance, the resistance is NOT actually pushing or pulling. It is a matching "reaction" to the "action" of the lead. The natural tendency to "yield" to a "lead" rather than to match the natural resistance is a real problem for many dancers.

Elbows down (video: 1 min., 4 sec.)

2008-02-22T15:54:00.000-08:00

Pressing the elbows down helps to straighten the spine by pulling the shoulders back and down. It also lightens the look, as well as the feeling in your hands.

Move Your Center First (video: 1 min., 28 sec.)

2008-02-22T14:39:00.000-08:00

Your “center,” short for “Center Point of Balance,” is your Core, located in your solar plexus. All dance movement should project from your center.

There’s an old saying in dance, “Foot follows Frame.” “Centering” also refers to the center of your frame. Move your center first—not shoulders, hip or foot.

KONA “INTENSIVE” MAY 2007

2007-05-24T14:24:00.000-07:00

Just got back from Kona and what a fabulous Intensive. Our first day was held in the open air Night Club where the Kona Swing Dancers gather every Tuesday night. We had the ocean as a backdrop and brightly colored little wild birds visited us during class. What an experience. Every day started at 10am and most finished about 10pm, with time out for lunch and dinner. On Monday - 5pm was departure time and we all had tears. Once again, we had all become "Family" and it felt like we were leaving home.

Jordan and Tatiana are frequently "guest" teachers for an hour or two at an Intensive, but this was the first time we shared the entire Intensive. What an exciting experience. Over and over I heard how powerful it was for people to hear everyone using the same language, terms, and observations. I can guarantee you - "It was MAGIC!" We also had a couple of great classes from Jessica Cox, and Sarah Grusmark was on hand to demonstrate and also help during the classes. (Lots of wonderful comments from participants about how Tatiana, Jessica, Sarah, and Michelle, did such a great job as Leaders in some of the classes). Last but not least, none of this could have taken place without
our multi-talented Guy, Warren d'Aquin.

I've only been home one day and already the emails are coming in. It is obvious that everyone had a great time. The most frequent comment is, "I can FEEL the difference in my dancing." People who attend Intensives KNOW they are going to learn valuable information, but they seldom realize that they will actually FEEL the difference in such a short time. We had Critiques almost every day and every person who wanted one, got their critique. This is the process that has become the catalyst for instant improvement. We are all looking forward to May 2008, in Kona. Make your vacation plans EARLY. We close the registration at 70 - and that was our total attendance this year.

The Schedule for 2008 will be available in January 2008. If YOU have a request, let us know early. We always try to accommodate.
God Bless and have a great day -
Skippy

Counting "sets of 8" in the music (video: 1 min. 15 sec.)

2007-04-13T16:13:00.000-07:00

Click To Play

In this clip we count the “sets of 8” in the music. A “set of 8” defines the beat of the music and the ability to count the “sets of 8” is the only way to confirm that you're on the beat. In particular, pay attention to the hand motion we use as we count as it's a good exercise to bring the beat into your body.

Music credit: "Alva's Baby Blues" by Ray Sharpe

When do you stop counting? (video: 2 min.)

2007-04-11T15:31:00.000-07:00

Click To Play

Dancers at every level can benefit from counting. This clip answers the question: When do you stop counting? Note that there are different levels of counting, which are described in my dance dictionary under the entry, 'count - levels of counting' (you have to scroll down to it).

Music and the Rolling Count (video: 1 min. 40 sec.)

2006-08-23T16:25:00.000-07:00

Click to Play

This clip, from the Summer Intensive, explains the importance of dancing to a rolling count, which you create in your head, as your music. This will get you through 'handicap music', music that's hard to dance to. Note: In a 'Jack & Jill' competition, you don't get to pick the music so it could be an unwelcome surprise.

Willie Desatoff, Noted Balboa Dancer, Transferred to New Horizons

2005-10-20T15:03:00.000-07:00

Willie Desatoff, a dancer friend of over 40 years, was one of the greatest Balboa dancers who ever lived, receiving numerous trophies and awards from1938-present, and in 1998 was inducted into the California Swing Dance Hall of Fame. He spent the last years of his life doing what he loved most: teaching and sharing his love for the dance Balboa both in his home and at events around the country. He was slated to make a special appearance in London later this month.

I feel privileged to have been asked to do the Eulogy at the burial in Riverside this Friday.

Willie is survived by his wife of 20 years, Lila (Gavin) Desatoff; daughter, Manya (Desatoff) Turner; step-children, Denny Andrews, Frank Mercurio, Karen (Curry) Kordakis, and Andrew Barry Clements, Jr.; brother, John J. Desatoff; two grandchildren and six step-grandchildren.

= = = = = = = = = = = = = = = = = = = = =

Willie's parents emigrated from Russia with their families. An entire Russian Molokan community was established in East Los Angeles, Central California, and Baja California.

Willie and his older brother, John, were born in East Los Angeles, and were among the first of their community to graduate from high school. (Roosevelt High)

Willie was a tiny one at birth, & his family really believed he might not survive. Even at birth, he fooled the family & the doctors by surviving the expected. This determination for survival would surface again in 2001.

Willie's mother enjoyed taking her young sons to the movies. That was when Willie first saw Fred Astaire. This experience would later influence Willie's style of dance.

Willie was a perfectionist, and worked hard at everything he did. As a teenager, he wanted to play football like his big brother John, but because of his build, the coach was afraid that he'd get hurt. Luckily for us, his pursuit of excellence got turned toward the dance.

Willie had two aunts who were very good dancers, and they passed that on to Willie. Willie's grandfather was not just a carpenter, but a master craftsman, doing inlaid work on chests and cabinets. One of Willie's first jobs was working in his uncles' cabinet shop. Later he built caskets for Ragsdale Casket Co. and this is where he developed his slides - practicing sliding on the sawdust on the floor. The job also provided money for dance clothes.

Willie enjoyed a sense of style. He was the first in his neighborhood to wear "tailor-made drape clothes" and he influenced several of the other dancers to do the same. He actually took them to his tailor and picked out what would best improve their appearance.

Willie was one of a handful of dancers that could dance extremely fast, yet very smooth. Over the years, he developed his unique style. He loved teaching, and would sometimes line up several guys at a dance, and teach them some of his moves. Willie's father was, among several occupations, a commercial fisherman. Willie loved the sea. No doubt brought about by spending so much time with his father on the boat. He spent 4 years in the Coast Guard during WWII. Two and a half of those were at sea.

Willie's daughter Manya, his only child, was born on his 45th birthday. He adored her and took her everywhere with him. She was his pride and joy.

At the age of 62 - Willie finally met the love of his life. It was July of 1984 when she walked in to attend his dance class. How could she help but be captivated when he charmed her with his eloquence by asking: "Who the hell are you, and who invited you to my class?"

As Lila says: "Who could resist such a romantic question? They were married the following June. They survived 20 years of good times and bad. The worst being Sept. 10, 2001 (day before the horror of the World Trade Center) Willie was taken to the hospital & slipped into a coma. After 8 days, the doctors gave up and said he would not survive. They transferred him to a convalescent home to die.

Visiting him every day, Lila worked diligently on his recovery. Conversations -Hand holding - reassurance - Soon he began responding and worked hard to be able to return home.

He & Lila often laughed at how he had visited the "Pearly Gates." It just wasn't his time. But the experience gave them a 4 year bonus.

Willie was not fully aware of the "Swing Revival" that had been taking place while he was recuperating. Lila would go out dancing, meeting all of the "new kids on the block" and bring back the exciting news to Willie. This eventually got him to start teaching again. Still - it wasn't until he was invited to "Speak" in Cleveland, that he started to realize what was really taking place... The dance that he loved - Balboa - was finally gaining nationwide popularity.

During the last 4 years of his life, Willie & Lila traveled to Cleveland (4 times), Portland, Houston, and Atlanta, meeting people from all over theworld.

When he finally accepted the invitation to London, he realized that his dream had been fulfilled. Balboa had really spread worldwide. Since his passing, Lila has received notes from all over the United States, as well as from England, Germany, France, Belgium, Finland, Sweden, Japan, Korea, and Australia.

Lila wants to thank everyone for their thoughtfulness. She was rather amazed at the LOVE being expressed on the internet, in forums, through e-mail, phone calls, and cards. She says that she knows that Willie would not have believed all of the postings from all over the world and she doubts too that he ever realized how many lives he had affected.

Willie did NOT want any funeral dirges on his passing. His request was for White Heat to be played at his funeral. It is fitting that White Heat has currently become popular again -world-wide, and for many of us, that song will serve as a constant and permanent reminder of our friend Willie Desatoff. He will always be with us - in videos - in the emulation of his style of dancing - and in our hearts.

One last request from Lila - Lila and Willie were married in my back yard. Her request at that time was for me to sing one of my love songs for their wedding. She wanted me to pick the song. I went through every one - and not one of them sounded like Lila & Willie. I remembered Lila telling me about going fishing and the two of them just sitting in the silence, out there on the water. I decided to write a song -just for their wedding. That song has been sung at a hundred different weddings and Lila asked me to share that song with the people attending the memorial. The recording is 20 years old but it's the words that are important. I will be asking everyone to close their eyes - listen to those words - and know that Willie will be smiling down at all of us.

I will close the ceremony with this last word from Lila:

Because of his smooth style of dancing, Lila came up with a quote for Willie just a few months ago. She didn't know at the time, that it would be his epitaph: From Willie Desatoff, Balboa & Swing Dance Legend - "Bless you my children, go and bounce no more."

Making Decisions on a Daily Basis

2005-08-24T14:31:00.000-07:00

Knowing what to do on a daily basis seems to be a major problem for
some people (making a decision on which way to go - what to choose -
what are my options? etc.). However, it is always easier if we ask
ourselves: “What action should I take that will result in being “for
the Highest Good of all involved?” Some people use the age old
question: “What would Jesus do?” No matter how you determine
difficult decisions - having a PROCESS for decision making always
helps. I think the old adage “ANY decision is better than none”
lacks a bit of responsibility, unless you have a “formula.”

MUSIC Makes the World Go Round

2005-08-11T13:24:00.000-07:00

Everybody knows how important music is to a competition. Everybody seems to have a solution, and none of them are the same. Almost by accident, a phenomenon was revealed to us at the 'Jack & Jill O¹RAMA' in Costa Mesa.

Because there were so many different 'era' competitions, music started having a 'design' to those in attendance. Almost every song in the '60s era' turned out to be a good one. (David is to be commended on his choices from that era. The selections were wonderful.) What is a 'good' piece of music? My classification for Swing music may be a little different than most, but the classification goes something like this:

#1. There is music that should not be played for dancing - particularly in a competition. In a social setting, it is music that you sit out - (or wish you had) - or you just dance, waiting for it to end. These songs should be identified - and eliminated from competition.

#2. There is some music that 'demands' that you do certain syncopations. Sometimes that 'riff' in the rhythm section is repeated over and over until you get tired of dancing that same rhythm, or same syncopation. (This is almost always a recording with a synthesized drum machine - not a live drummer) This kind of music takes away your own musical interpretation and forces you to repeat specific rhythms. This can drive you crazy if you are a creative type - OR it can be very comfortable for those who like the music to do the driving. In a competition, this is usually a boring presentation no matter how good the dancers usually perform.

#3. There is music that 'allows' you to dance your dance. It doesn¹t interfere with your musical interpretation or your timing or your personal styling. It is fun to dance to and it is certainly welcome when you get it in a Jack & Jill.

#4. Then there is music that actually MAKES you get up and WANT to dance. You are sitting down and the music pulls you to your feet (you might even stand there and dance alone)! This music not only allows, but encourages you to dance. It suggests different rhythms but does not demand a thing. It stirs the creative juices. This is not just OK music, but the kind of music you pray for in a competition.

The interesting part of this whole scenario is that these different 'sounds of music' are NOT classified by Blues, Contemporary, Slow or Fast. They are identified by a particular rhythmic sound that 'Makes you want to dance Swing!' - In other words - it is music that 'SWINGS!'

During the '60s competition' at the 'J&J O¹RAMA' it became apparent that every song of the 60s era that was played - worked. The 'sound' was predictable - safe - fun - exciting - and inspired everyone to dance.

On Sunday, when the Champions were ready to compete - they were given a choice of Blues or Contemporary. Pete Green was the first to choose. He grinned and asked - What about 60s? John Wheaton checked with DJ Dave Koppelman and it was a 'go.' Contestant after contestant requested 60s music. The performances were wonderful - creative - fun! Somewhere along the line - someone requested a Blues. When it started, I thought the music was too fast. I listened more closely and found that truly - the music WAS a Blues. However, it was a classic MUSIC Blues. That means that the configuration was 6 'Sets of 8' - rather than 4 'Sets of 8.' So what does that mean? It simply means that what the dancer has in mind for 'Blues' is a sound and a feeling. It has nothing to do with the music world¹s definition of Blues. 'Blues' as a musical category, all by itself, is not a dance category. I may be getting in over my head here - These things are easy to explain in person, or in an Intensive where demonstrations can be made. Trying to explain some things on a printed page is almost impossible. I have said many of these things before and been misunderstood. These are things that must be said if our 'Swing World' is ever going to be taken seriously as a professional category of dance.

We may not agree with some of the concepts of International Dance Organizations - or UCWDC - or other Dance Organizations who run National Dance Competitions, BUT they all seem to have one thing in common: They all use 'approved' music for competition. They have gone through the pain of years of unreliable music selection - and arrived at the fact that 'fast' and 'slow' are different tempos according to who makes the determination. Specific 'Tempo' is the only way to measure the speed of music. Swing music can range roughly from 90 beats per minute to 125 beats per minute (BPM) - Yes it can go slower and yes it can go faster, but we are talking 'in general' for the average competition. Tempo however, is only ONE consideration and is the easiest to determine. The difficult determination is 'Does the music SWING?' There are thousands of songs - both old and new - that 'swing' and still we continue to use Hustle music, Rumba music and even some that we can not identify, just because SOMEONE likes that music. Hustle, Rumba, Cha-Cha etc should be announced when they are played, so that dancers can at least have an educated opinion and not be lulled into thinking that ALL music is SWING music. Sooner or later we MUST have approved Swing Music, if we expect to be taken seriously in the professional world of dance. Approved music also makes for a wonderful social scene of dancing!

I am currently in the planning stages of producing a DVD that chronicles the process that we use in Intensives for determining whether or not a piece of music 'swings.' Before the DVD is produced, there will be an 'open forum' (no charge) for anyone interested in participating in the project - or in learning the process for what is currently planned. If YOU are interested, please email me and you will be advised of the date & location. (currently planned for Sept. ¹05)

For more information on Golden State Dance Teachers Association (GSDTA) or the Dance Dynamics Certification Board (DDCB), please log on to www.Swingworld.com <http://www.swingworld.com/>

Skippy Blair - Co-Founder & Education coordinator for the World Swing Dance Council 562-869-8949 Email: Skippy@Skippyblair.com

Sacramento Presidents Day event

2005-05-20T12:16:00.000-07:00

The Presidents Day event in Sacramento proved to be their best one yet. Anyone who was not there missed the SHOW of a lifetime. Steve Zener, the ultimate MC, always says the right thing at the right time, and still keeps things rolling at a steady pace. Dani Canziani, lived up to expectations as a gracious hostess, and did her usual amazing job with the event..

I was particularly happy with my Intensive Classes. Attendees included a delightful couple from Belgium and Switzerland.. I was also impressed that nobody was looking for cool moves. They were all looking for techniques to improve what they already knew. How fascinating to be involved in that "process."

I didn't learn until later, how many GSDTA dancers placed in the various competitions. Naturally, we all know (and love ) Jordan & Tatiana and Wayne & Sharlot. They were fabulous. We were also proud of 19 year old Josh Clark, who is developing at an amazing pace. Josh placed 3rd, dancing w/ partner Ashley, who looked fantastic in a black tie & Joshes hat. Later yet - we discovered how many other GSDTA trained dancers had won or placed. That was exciting. It was even more exciting to hear that they attributed considerable credit to their involvement in our training.. That makes all the work we do worth while.

Certification

2005-04-18T15:19:00.000-07:00

Recently there has been a series of emails and telephone calls asking how our Teacher's Certification differs from others being presented across the country.

I am not aware of other people's programs - only our own. Our certification program is comparable to a six semester college program. Through the years, there have been over 1,200 teachers who have gone through the program and passed both exams. It is certainly not a program for everyone. Many teachers, or perspective teachers, just want the piece of paper that says they are "Certified."

We all know, that there are thousands of doctors out there and we are all aware that it takes time to find those special few who know more about their craft than the others. These are the doctors who make us well. It is not much different with teachers. There are many benefits from any class and any teacher. However, the question regarding dance education is this: Does everyone learn, or just the talented? Real education brings up the level of everyone, including the lowest man on the totem pole. Just "showing" someone something, ("Watch me, and do it this way"), is one form of teaching that works for talented people. There is another form: Dazzle the masses with information that sounds fantastic, but nobody understands.
Participants leave the session convinced it was a fantastic presentation, and the reason they didn't get it was because they don't know enough. The GSDTA theory is this: "If the student can't do it, it hasn't been taught. It may have been shown, explained, dissected in detail, but if the student can't do it, we have missed an important detail."

Starting way back in 1960, GSDTA Teachers have been noted for winning contests, and producing dance teachers that can cover the spectrum of all forms of social dance. Several have gone on to perform in Las Vegas, television and movies. Many of them specialize in West Coast Swing, but teaching in Universities, Public Schools, and Parks and Recreation, allows them to expand their teaching capabilities and become full-time teachers, if that is their goal. At one point in the 1980's, we had 38 teachers teaching out of the main studio in Downey. Almost every park and recreation and local college that had a dance program, hired a GSDTA teacher. Some of those original teachers are still teaching today.

People frequently ask how they can get involved in our training program. The best way to start is to attend a week-long Intensive. These 40 hour programs saturate the mind with the Elements of Movement and Elements of Music that have been isolated to target optimum level dance development. Not everyone can be a Jordan or Tatiana - but our program develops dancers to their own highest capabilities.

Over a 20 year period, one of my greatest innovations has been the use of "Critiques." We have file folders full of testimonials saying that their dancing improved the very day of the critique. (Not 6 months later - not down the road - but the improvement was noted by the entire Intensive instantly)!

It takes a lot of testimonials, and a lot of faith in our education, for people to take a week off from their busy lives to attend an Intensive. GSDTA has an amazing record of producing top quality teachers. Looking over the photos of the people who have attended these Intensives is like viewing a "Who's Who in Dance." We are now in the process of taking all of those old pictures and putting them on our website. That process will probably not be completed until after the Summer Intensive in July 2005, mainly because there is not time between now and then to even locate all of the pictures. I have a break in August, and we have scheduled time to supply the history of West Coast Swing, and the history of GSDTA Training, so that
all of those questions can be answered.

If you are interested in any aspect of our program, please go online at www.swingworld.com http://www.swingworld.com - email Skippy@skippyblair.com or call Linda at (562) 869-8949 (GSDTA Headquarters in Downey, CA).

Skippy's 15th Annual Summer Dance Intensive - Plus: Saturday Dinner Dance & Reunion Ball

2005-03-09T10:38:00.000-08:00

Sunday July 24th, 2005, through Saturday July 30th

This year's Summer Intensive will be held at the beautiful Norwalk Marriot Hotel.

This is the FIRST announcement discussing the Summer Intensive in July 2005. We will miss the studio, but look at the benefits: No daily commute - everything under one roof! I am really excited, or can you tell?

If you've ever wanted to attend a week-long Intensive, this should be the one! Many exciting things are in the works, and details will be forthcoming as they evolve. The Golden State Dinner Dance & Show on Saturday night will close the week-long Intensive, Register early to avoid disappointment. This one may be a sell-out.

For more information, including schedule and tuition, follow this link to our website:

http://www.swingworld.com/intensives/Summer_intensive.htm

$69 single or double occupancy at the beautiful Norwalk Marriott Hotel. Reservations available after March 15th, 2005:

http://www.norwalkmarriott.com/

Upper Level Techniques

2005-01-30T18:03:00.000-08:00

At the recent Monterey convention, I had the privilege of working with a
young man who frequently takes first place in competition. It was exciting
to see his level of performance go up, yet again. For those who work at
upper levels of performance, here are a few of the things we worked on: #1.
Any time there is a circular leg movement (Ronde or floor sweep) the inside
of the thigh should be pressed toward the floor, and the ankle should be
stretched and turned out. #2. On the popular "tilted" poses - body on an
angle with one leg extended out - the shoulder matching the extended leg
should be pressed down to create a firm line. Most of these "leaning" poses
look like they are not quite completed - as if the dancers have fallen off
of the pose too soon, thus rushing the beat. #3. 3-Toe Base and stretching
the toes inside the shoe, provides stability to a foot position, and keeps
the free foot from turning in. Many balance problems are created when
dancers place their weight on the outside of the foot.

Dancing in the White House

2005-01-26T13:50:00.000-08:00

It was interesting to catch the news on inauguration day, and see President and Mrs. Bush dancing. It was even more interesting to note that they were doing basically what GSDTA teaches as "Slow Dance". The average dance studio curriculum seldom includes this most basic form of social dance. Even non-dancers would do well to learn how to do a basic "Slow Dance". It should be part of everyone's social education.

RUSHING the MUSIC in SALSA

2005-01-07T20:15:00.000-08:00

At a recent event where I was teaching, several dancers questioned the fact that Salsa dancers frequently seem to be rushing the beat. It has been my observation that quite a few SALSA DANCERS ARE RUSHING THE MUSIC BECAUSE they are counting 123 & 567. This is a popular form of counting Salsa these days, and is certainly better than the 123 & 456, previously used. (They are counting weight changes instead of beats of music.) However, the patterns take 8 beats of music - and unless you actually SAY the 4 and the 8, you will probably MISS those two beats - and the dance will look rushed. The verbal "Call" for Salsa is: "Step Step Step & hold Step Step Step and hold." The two "holds" are on count 4 and count 8. Practice counting all 8 beats of music to slower music (or without music). In a very short period of time, it will feel comfortable and you will begin to feel the 8 beats in the music.

US OPEN - Contestant Observations 2004

2004-12-05T10:23:00.000-08:00

First of all - What a fantastic event! The decorations helped bring the performances up closer to the spectators. All divisions gave us a great show, and there wasn't a bad seat in the house. However, everyone knows my dedication to the dance. They know how important it is to me to try to contribute to the quality of the dance. So here goes:

Costumes frequently add or detract from a performance (and we'll deal with that later) - EVERYTHING we do either contributes to - or detracts from - a performance.

In both Classic and Showcase, there were several instances where I considered the Music a handicap to the dancers. Music should not DARE the dancers to dance. It should enhance the dance. The music is a canvas upon which the dancers display their art. It is my personal belief that many dancers are so familiar with contemporary sound, that they do not distinguish between contemporary music that swings - and contemporary music that simply pounds out an earth shattering beat.

It is sometimes possible that dancers do not see themselves as others see them. Always ask someone who will tell you the truth. Friends frequently tell you that everything is wonderful. When selecting music - find something that everyone will love. Find something that MAKES you want to dance. It's "Just a thought" -

2004-11-19T17:44:00.000-08:00

Judging ANCHORS in West Coast Swing

We have discovered new insights lately, into the art of “anchoring”. Because of so many discussions lately, concerning the new Judging program, I get to talk to quite a few judges. I also talk to quite a few potential judges - some new to the game - others pretty well seasoned.

One young lady seemed way off base concerning one couple in a recent out of state competition. When asked if she remembered why she had given them such low scores, she replied that they never did an anchor. Having observed the couple in question, I felt that both partners have a great connection and anchor all the way through the dance. Second question was - “Why do you think they didn’t anchor?” Answer - “She seldom ever does a Triple on 5&6.”

Problem solved. An ANCHOR does NOT require a TRIPLE in order to qualify as an ANCHOR. An anchor is neither a Foot Position nor a Dance Rhythm. MANY dancers do Triples in 3rd foot position, and yet do NOT anchor their bodies. These are the ones who need the work. An ANCHOR Is an “away” connection from one partners center to the other partners center. It is achieved by placing one’s Center Point of Balance (CPB) BEHIND the heel of the forward foot in order to tighten the partner connection at the completion of a pattern. It’s a silent signal that each partner is ready to proceed to the next pattern.

It is true that TEACHING someone how to do a BASIC anchor is easier if we teach them to do an “ANCHOR Triple, in 3rd foot position.” That is a process for teaching someone how to feel the connection in an anchor.

Once felt and achieved, there are numerous ways to get an Anchor Connection, and it can be done with various rhythms. A “Point &a Close” makes a good anchor. Sometimes a follower can hit a back step on the Right foot on “4” and drag the free Left foot slowly back through counts “&a 5&a” and close the Left foot behind the Right foot precisely on “6”. The point is this - We need to spread the word that an ANCHOR is an ACTION, not a specific rhythm and not a specific Foot Position.

A recent discovery that explains the lack of action/reaction, is that some ladies “anchor in 3rd foot position” but have their centers over the FORWARD foot. The anchor looks like it is in the right place - but lacks the inter-action it was designed to deliver.

R&B MUSIC for DANCERS

2004-10-25T16:27:00.000-07:00

It has recently come to my attention that we are in another one of those "Terminology" dillemas. Several DJ's have communicated their ideas about what they refer to as R&B music. (Rhythm & Blues) The results are enough to show that the term "R&B" itself is no longer a valid one. The MUSIC industry has specific words that mean something ONLY in the music industry. That is true of most specialized fields.

Simple things like DOWNBEATS and UPBEATS change meanings when you are talking to a classical musician - or one who plays professionally on stage for dancers: (Broadway or Hollywood) SOME Classical musicians say that the Downbeats are on the beat - and the Upbeats are the "&" counts. Wouldn't that be a mess for dancers? Pit Musicians (ShowOur Downbeats are: 1-3-5- and 7. Our Upbeats are: 2-4-6 and 8. All of our Dance Rhythms are confined to one "2-Beat" Rhythm, unless it is a Waltz.

No sense in going further with that. We already know that we can't go into a Music Store and ask for SWING music. We know that there are no schools that teach music - that separate music into styles of Swing - or even Latin. We can all remember when the CONGA song came out. Some of us expected to hear a Conga. It was a SAMBA!

Back to the subject at hand: Instead of trying to categorize what R&B IS - How about eliminating that category and going with the diferent STYLES of Swing Music? - Blues - Ballads (ones that Swing) - Beach Music (Great for Shag and West Coast) - etc. There should be one common criteria - DOES IT SWING? Dancers should be informed when the music is a HUSTLE - Cha-Cha - Rumba - HIP HOP - etc.

I travel all over the country doing Intensives. I study the general dancing. I'm not talking about the top dancers, They can make anything look good. (But even they sometimes have difficulty when the music is bad.) IN GENERAL - the level of dance across the country, is going down - not up. Winners of contests are frequently very fancy, very busy, and off-ftime. AGAIN, I am not talking about the dancers that we consider in the top 15 in the country. Dancers who are born with a sense of rhythm will always do well because they have a FEELING for the music. I used to brag that ANYONE could learn how to feel the music - and how to REALLY be ON TIME. However, in order to DO that - they have to dance to music that encourages the body to "Swing" - not to JUMP - not to CHECK and run. I think some people have no idea how much music influences their dance. Every dancer SHOULD be aware of that. Everyone has at sometime or other been driven to ask: WHERE did they get that music? It is not just finding music that pleases you. Music pleases us when we are dancing to music that makes us FEEL like dancing.

This was going to be short and sweet. I really CARE about the dance. I really care about WEST COAST SWING. I actually hurt when I see West Coast Swing looking like a cross between Swing and Hustle. Swustle doesn't cut it. I also hate it when Hustle looks like muddled Swing. The sheer JOY of the dance comes from connecting to specific music - iin a fashion that makes you feel like YOU are somehow responsible for the magic of the sound of that music. I have been there. I have experienced the tingle in the spine. I want EVERYONE to feel that thrill. It;s ELECTRIC!

Welcome to my Dance World

2004-10-06T13:45:00.000-07:00

Welcome to my DANCE BLOG. - On OCTOBER 15TH I will be starting my comments regarding observations from recent Dance Conventions, Teaching and Judging Intensives, and Answers to Questions that people ask about Dance. This particular medium is perfect for getting information out, without having to repeat it a hundred times - and without having to write an entire article.

In the meantime, several of my articles are available on our website: Swingworld.com - While most of the articles relate to West Coast Swing, there is quite a bit of material on other dances. Everything written relates to Dance Dynamics(R) and the Universal Unit System(R). Watch for what's coming ahead.

Have a Dance Question that can't wait? Email me at: Skippy@Skippyblair.com