Riot and Frolic

If you hang around a studio long enough, you'll hear a ballroomer throw out, "Well, it was politics," to dismiss someone's good placement… or lack thereof.  

And while dance politics are a thing(local and global dance organizations are generally at war, all the time), there are only a few instances it influences YOUR placement.

Here's a list of when politics has something to do with your results at a competition:

1. All of the judges on the panel know you by name.  That's it.  Think about how often and where that happens.  But really: THINK ABOUT IT. It's only those really big competitions (the ones that are televised or at least streamed) that have been preceded by other pretty big competitions that simply everyone goes to.  And by "everyone", I mean the same group of people for about a calendar year that are in the semi and final with slight variations in placement.  Then, and only then, do some judges try to push an agenda, influence a specific characteristic they'd like to see in a particular style, favor a couple from their school, or blacklist someone.

Short list, eh?  RIGHT.

Here's a list of when politics have nothing to do with your results at a competition:

1. You're an amateur or pro-am couple dancing syllabus.  There's a pretty cut-and-dry list of attributes for syllabus-level ballroom dancing (it is illustrated ever so clearly here… and here… and here… and here… and here… and even here).  You're either doing some/most/all of it, or you're not.  Samesies with the other people in your heat.  Judges compare who's doing the most to the least and then BAM, you get a winner.  
2. You don't know all the judges on the panel. There's always a few, or more than a few, and possibly even many, judges' names that make you say, "Who?"  Sometimes you don't know the judges because they are so good that they only judge a few comps a year in your area or they're so off-the-grid that they don't really care who you are/where you're from/who your coach is and they just want to see some good dancing before they head back home to the Virgin Islands and so they mark accordingly.
3. All of the judges on the panel don't know you by name.  This is the biggest one, my friends, as detailed above.  Unless you're ballroom famous (or INFAMOUS), judges have no reason to mark you anything but honestly. Many competitors seem to think judges have a vendetta against certain styles, studios, areas, teachers, or COUPLES.  But really, they just want the best dancer to win… and they don't remember you.  Since people change levels, styles, teachers, and hair color, it's pretty difficult to keep track.  If one judge is marking you lower than average, it's either in their evil nature OR you aren't demonstrating a characteristic that the judge finds very important, not that they're holding a grudge from that one comp you did last year when you were really bad at doing ball-flat footwork in Rumba.  But, even there is someone who has it in for you, that's why there's a PANEL (usually 5 or more people).  So if that evil judge has got you down, there's at least four other really sweet judges to get you into that next round.    

Things that might help those judges mark you honestly:

• show them your number
• know the reasons why you might not win
• play the game

Next up?  Things you can control at a competition. 

Awhile back, we found out the COMPLETELY TRUE AND ABSOLUTELY SCIENTIFICALLY DISCOVERED reasons why women dance and it only follows [DANCE JOKE! GET IT?!] that we will find out IN THE SAME, UNCONDITIONALLY JOURNALISTICALLY SOUND WAY about why men dance.*

A Bet 9%

There's a small bunch of men that got pushed into a studio because they had to hit a dance floor soon and oh shit I have no moves.  They didn't want to look like (or, more appropriately, feel like) an idiot when they had to do the Funky Chicken with those hot bridesmaids.  Or their work buddy knew how to swing dance and was a hit at the Christmas party and dammit I want to be a hit at the Christmas party.  Or the classic "I bet you can't salsa dance" from their bros after seeing some awesome looking people working it on the plaza to a street band during spring break.  

Romantic Notions 30%

Notice I didn't label this "To get laid" and I really feel like an adult for that, but guess what?  If you're in a relationship and you bring your special friend dancing?  Good things are going to happen, buddy.  Like, she will make you dinner. 

If you're NOT in a relationship, you've mightily upped your odds of meeting a lot of really great people.  And maybe you'll find an enjoyable companion with whom you'd like to spend time off the dance floor.

But it's not a whorehouse, y'all.  Keep your moves gentlemanly.  And non-stalkery.  Or I'll find you.

Because Women are There 30%

The gentler sex might not be so gentle on the dance floor, but the scene as a whole is a lot prettier and better smelling than your average gym or bar.  Dance studios give you the opportunity for a great workout and socializing with great ratios of guys to girls.

Competitive Athletic Endeavor 17%

The growing number of pro-am men in the world seems like a nice testament to the low-impact/high-finery world of competitive ballroom dancing.  You won't ruin your knees.  You get to dress like James Bond.  You have tough competition.  You'll get more flexible, confident, and sexy.  If you're out of your high school/college glory days but still need to go kick some butt, round out your Crossfit competitions with some dancesport championships.  

Edita Sliwinska 14%

Yes, most of these reasons revolve around women.  Yes, there are gay guys who dance.  They like women, too (just not "like like").  The point is that there's plenty of terrific people that draw you into the ballroom world, whether it's the "frustrated exhibitionist" [all-time favorite quote from my dad] Edita Sliwinska or your ultra-sassy 80-year-old neighbor lady who is in better shape than you are.

And ballroom pros are hot.  The end.

*In other words, I made it up.

Ballroom dancing is a full contact sport, in the obvious "hey I'm constantly touching my partner" way, but also in the "wow, I'm really close to all these other couples" kind of way.  Bumps and nudges between other couples are bound to happen, as well as the occasional grand collision.  But when I witness three or more accidents in a dance from one couple, I bring out this face:

Whether it's because you're being malicious, oblivious, or ignorant, bad floorcraft is a bummer.  So let's fix it!

Rule or Suggestion?

If you're new to ballroom dancing, hopefully you know the general rule is to move counter-clockwise around the floor.

While this is totally true, many newer dancers follow the rule to a T, moving down one side of the floor in a generally straight line, hitting a corner, rotating 90º, then moving on to the next side.  This is great, but not effective for the long run.  It is totally acceptable to run a route like this:

Zig-zagging, curving, and cheating your DC/DW alignments by a couple degrees won't hurt anyone.  In fact, it'll give you more options.  

The Matrix

Reading the Matrix is just another one of those jobs that leads (and follows!) have to do.  While you're leading and following your own figures, it helps to keep an eye down the floor to see what everyone else is doing, so you can plan ahead accordingly.  

Let's take this Choose Your Own Adventure:

What to do?  Let's take a look.

The popular "Don't go where people are" applies in this case.  Don't head into the fray (unless you have the tools to deal with it).  Understand that everyone is progressing at some rate around the floor, so if you try to bypass them, they could catch up with you and then you'll be in the thick of it anyway.  So possibly the best bet could be to avoid everyone entirely and cut across the floor.  LEGAL.

More examples, just in case you didn't get the point:

Your friend just started their fancy standing spin in the corner?  You know they're going to hang out there for a measure or two, SO DON'T GO THERE. 

While there might be a clusterf*ck up ahead, you're still 40 feet away, so it might clear before you get there.  

Still nervous?  Cut across the middle of the floor!  Do your favorite stationary step a couple times to give yourself time to evaluate the situation!  Stop all together and chill with a hesitation or two or three!  DRAMATIC PAUSE, PEOPLE!

While all this seems like a huge pain in the ass because you're already a little overwhelmed with staying on the music, and keeping your head up, and keeping your partner happy, and thinking of patterns, at least we're not sailors.

Don't be a dick.

While it's a great life lesson, it's also nice to keep in mind when you're on the dance floor.  See someone out of the corner of your eye backing into your left side?  Drop your follow's hand for a beat or two.  Finish your figure and realize you're about to elbow someone in the head?  Drop your elbows and breeze by instead of maintaining your perfect frame and nailing them in the noggin.  A less experienced dancer is in the corner or near the outside of the floor?  Don't box them in.  WHY CAN'T WE ALL JUST GET ALONG?

Ladies…

Using good floorcraft often lands on the lead's shoulders, but ladies aren't off the hook.  Verbal warnings, the occasional back lead to slow down or slightly change direction, and you know… following will help make your dance an enjoyable one.

Rhythm and Latin Dancers

You're not off the hook either!  Reign in those arms and legs when your buddy is right next to you, or get creative like this classic golden floorcraft moment by Franco Formica (the fun starts at 1:21):

GO FORTH AND CONQUER.

Here's a few thoughts, and some vague explanations of them:

Who teaches y'all to do your invite like that?  

Just stand up and get there.  There's a lot of shenanigans that happen before you get into frame.

Does no one read the rule book?

heavy sigh No. 

You are cute.

Really, all of you are.

It is super interesting how people have a stronger style. And sometimes a stronger style that you wouldn't expect.

I like the tall, lanky ones who look born for Standard and then totally rock a Salsa.

While the ballroom wives like working with their husbands, we are often willing them to stop goofing around and/or move faster by burning holes in their faces with our eyes.

And by often, I mean, always.

Not doing anything wrong is so boring.

While aiming for perfection is admirable, since it's not going to happen, just have fun and do whatever you're doing THE MOST and that's way more interesting to watch.

There's a thing called an ankle joint.

And quite a few other joints below your waist.  It'll help your dancing if you get to know how those work.

Just because you cover a large distance does not mean you're dancing well.

More distance is not equal to more quality, in fact, often the reverse.

Dancing is fun.

Like 75% of the time, at least.

If you put a really pretty dress on, you should do do your makeup. And your hair. Like, enough to complement your dress.

Don't let those rhinestones outshine your pretty face.  Or if you don't want to do hair and makeup, maybe you should go the bling-less route.  No shame, no shame.  

Be gracious to your partner of a lesser proficiency. Always. The judges and audience can tell when you're pissed. And it's gross.

Newer pros sometimes do this and mixed proficiency partners, too.  Your grimace and eye rolling is not cool.  Stop it.  

The judges look so snooty because they're trying to help you dance better.

Often, they're vicariously fixing their posture for your sake.

I'm sure this is part one in a series.

Happy Holidays!

Maybe you've recently done one of those performances where judges give written comments* on your dancing.  Maybe you need more explanation on their messily-written, much-too-brief phrases and want to understand, but are too shy or too far away to get clarification.  

First of all, it is AWESOME that you got out there.  You did great, really.  So much improvement and guts and goal-busting.  I wanted to give everybody high fives and hugs and cheer ever-so-loudly.  But mama ain't got time for that.  I got a pen running out of ink and 30 seconds or less of words to write down that I hope to be helpful.  

Not that I speak for all of these manic commentary writers, but we have often mentioned just needing a stamp to do these events, since the mistakes are pretty universal.

Without further ado, here's some clarification:

"Watch timing" is hard for me to write.  It's even harder for me to watch.  It means you're not dancing with the beat of the music and/or you're not dancing with any perceptible rhythm. Read this and eat your dinner.

"Stand up tall" means several things…

Your occipital lobe needs to go back and up, so it doesn't weigh down the rest of your upper half.

it's the base of your skull, yo

Your shoulders need to get away from your ears, the ever-popular "back and down" phrase.

And you might want to read this stuff:

• here's one about posture (the good ol' dance pyramid)
• and while you're at it, read the whole damn pyramid (timing, footwork, characteristics, choreography, other stuff)

"Smile" might seem self-explanatory, but maybe you need to look at a picture or video of yourself dancing to realize you look slightly to completely terrified or lost.  Other facial expressions are acceptable, but please no "acting!" until you're doing choreography.

"Watch footwork/footwork/FTWK/FOOTWORK."  feels self-explanatory but APPARENTLY NOT.  Toe releases on back steps.  Heel leads on all forward steps.  Like, even that third step forward in tango. And those steps in Promenade position, which are forward and across yet STILL FORWARD.  And yet, none of that in American Rhythm or International Latin (except Paso, where you can do whatever you want) where it's all "ball flat" all the time always.

And not, like, wussy, footwork, where you never use your ankle joint.  Like extremely clear footwork, like these guys.

"Close feet", along the same lines, means your feet should actually touch on a 3 in Waltz, or in the box in Rumba.  The word "together" is in The Book (thanks, Beth), so do that.

"Transfer weight" or something like that means that when you're supposed to step on a foot (LIKE IN CROSSOVER BREAKS FOR EXAMPLE), step on that foot.  Don't tap it forward [or side or back], but step on it enough to be able to lift up your other foot.  On a slightly more advanced level, it might mean you need to stack your shoulder over your hip over your foot.  But still.  

"Pull center in/forward poise" You might be standing up tall, so now it's time for an upgrade. Standing up "straight" is admirable, but overdone.  Standing up forward is better. Or standing up differently is even better.  Read more about it here.

"Tone your arms to yourself" is a little difficult to explain, and easier to make one feel in person.  BUT many of you give your arms up to your partner and forget they belong to you first.  It looks as though someone told you to put your arms like so and you do and then forget about them.  Test: the tops of your shoulders might be a little tired if you're doing a lot of closed work, but your shoulder blade area should be dying after a few minutes of practice.  DYING. 

"Man's left hand is on her side".  Get it in the middle and probably get away from your partner.  While you might be attempting to dance better by using body contact, you're dancing worse because you haven't mastered a lot of important things through your topline (let's say that's your shoulders and back for now) before you jumped too close to your partner.  Also, ladies, your elbows should always be in front of your shoulders, especially in dance frame.  See above about tone.  And read this about getting into frame and ladies' poise.

"Don't break your sides" or other things like "you're collapsing your sides", "teapotting", or "leaning".  Stop it.  I know you're trying to swing and sway, but if your angle stops at your waist, you're not doing it right.  You gotta learn how to use your base (ankles, knees, hips) to get those awesome shapes you see the big dogs doing.  You ARE dancing what you see, which is admirable, but it's ever so wrong and unproductive.  

"CBM/CBMP/latin motion" and other random techniques that get written with no explanation either means we think you know them and don't see any use of them or that you need to upgrade so we can see that technique clearly demonstrated.  

If there's any other comments you need translated, please ask.  If it's a doozy, you might need more than two minutes, but anyone who wrote comments, wants you to understand them and improve, and is available for private lessons, which would be worth the investment.  PROMISE.

*At all these events, judges are instructed to be nice.  Since we all have a different version of "nice", there's quite a range of honesty.  I'll give you a more honest evaluation if you ask.  But be prepared.  

This is a post for you up-and-comers, you young pups, you youth.  Not so much for my established dancers who want to afford two more lessons a week (because let's face it, we all think we're broke and want to learn to dance better).  Although it is good advice for you too.

If you want to learn to dance better, but have super limited funds, I'll give you some advice on how best to use your time and dollahs.

• Plan your long game.  That full-time job/school/partying gig and empty bank account means you won't be national champion tomorrow.  #sorrynotsorry  Whatever your plans are (dancing every song at a social dance, passing Bronze, doing a really great twinkle, world domination through heel leads), are going to happen with some forethought.  So, plan it out, yo.  What do you want to do?  When do you want to do it?  Who can help you do it?  [Notice how I wrote that whole part and didn't use the words "goal" or "setting"…  Dammit.]
• Learn.  Check out local studios and communities and teachers.  Go to classes and seminars and lessons that interest you.  Try different ones until you find one that makes things click.  Keep going. 
• Practice.  Bold statement, I know, but practicing is the most efficient use of your time and money.  Practice your steps, no matter how basic; practice those steps with music; practice any technique you heard.  Practice alone; practice with a partner; practice in a group.  Practice for 3 minutes; practice for 30 minutes; practice constantly throughout your day.  I could talk about conscious practice here, but I won't.  Just practice. 
• Get help.  Find your favorite coach and book a lesson with them.  Then do that practicing thing some more.

Cheaper.  Better.  Boom.  

[Here's what not to do, in case you like negative reinforcement better (aka, nagging): click me.]