Riot and Frolic

Awhile ago, I wrote a post for Dance Comp Review titled The Smell of Dancers, referring to personal hygiene and all that really sexy stuff.

Part Two is coming to Riot and Frolic in the shape of How to Wash Your Costumes because UGH, YOU GUYS.

After a competition or show, everyone goes back to their room and scrubs off the makeup, hairspray, tanner, sweat, blood, and tears from their bodies, but WHAT ABOUT YOUR CLOTHES?!

I KNOW you threw it in a sweaty, bacteria-inducing pile overnight and packed it in your suitcase the next day and THEN put it back in your closet until the next performance.

WITHOUT WASHING IT.

When you took it out the day before your next comp, you sniffed it absentmindedly and said, "It's not that bad."

IT'S THAT BAD, PEOPLE.

How to Wash Your Dancesport Clothes

The first rule of washing your fancy costumes is…

LISTEN TO RYAN GOSLING!  Put those damn things in the water.  A nice rinse in cold water in a hotel sink WILL NOT hurt your already-soaked-in-sweat clothes.  Please, baby.  

If you're a dude, it's pretty safe to throw your garments in the wash, but PLEASE WASH YOUR WHITE SHIRTS WITH OTHER WHITE STUFF AND NOT WITH YOUR BLACK PANTS. Your white shirt will not be white for long and will look dingy if you just throw your whole kit in the wash.  Hot water for whites and cold for darks (do I really need to be typing this?  YES).   

Drycleaning is also on option, but let's be frugal, shall we?

Ladies, you can:

A) pay your dressmaker an arm and leg for them to launder and restone it for you.  LEGIT.  SAFE.  PAIN IN THE ASS.

B) take it to a trusted drycleaner.  [I've heard horror stories about rhinestones and drycleaners, tho, so be cautious.]

C) take a deep breath and make like Ryan said.  Get thee some Woolite, a bucket of cold water, an old towel or three, and somewhere to lay your gown out flat.  Dunk it, swish it around, rinse it, lay it out.  The end.  

I've washed all varieties of fabrics (silk, georgette, crepe, spandex, mesh, tons of rhinestones, etc.) and nothing untoward has happened.  

BUT PLEASE GOD, IF YOU HAVE ANY CONCERNS, PLEASE CONTACT THE PEOPLE WHO MADE YOUR COSTUMES AND ASK THEM HOW TO WASH YOUR ENSEMBLES.  

Go forth and conquer.

Regardless of over 15 years experience and a large handful of awesome mentors, having 5 kids and being part of the ballroom world has been a challenge and a circus act, but I'm a better teacher because of it.  

WHY? you ask.

WELL, LET ME TELL YOU:

Patience

I am not a saint, but I hang out with five people whose favorite word is "Mama" and I only yell at them to stop 10 times a day, so… I'm pretty close.  

But seriously, living with a quintet of kids under 10 has given me a high threshold of patience for people 

1. not listening to me
2. not understanding me
3. needing to be told something 100 times before they do it
4. being unnecessarily loud or talkative
5. being crabby [note: usually it's because they're tired or hungry; teacher's suggestion: bring a snack to lessons, yo]

Insistence

Have you ever tried telling a 5 year old to brush their teeth?  Or a toddler to finish their food?  I HAVE.

It is thrilling.  And repetitive.  And necessary.

Kids don't know what's good for them… just like ballroom dance students.  When I tell you to do a toe lead on 3 and you don't do it, I'll keep telling you to do it.  UNTIL YOU DO IT.  

Simplicity

While it is really fun to use as many words and as many ways possible to describe a thing, it's also really nice to be able to boil a process down to it's simplest form with as few words as possible and then SAY THAT.

"I never knew words could be so confusing," he tells Tock. "Only when you use a lot to say a little," the watchdog replies. – The Phantom Tollbooth

Vocabulary

Matching fun dance words with techniques and proficiency levels is like using new words with kids.  While kids might infer from context what you mean when you use a big word, they also might make up their own definition and be totally off the mark.

I was making a shopping list and wrote down "avocado" and since I'm slightly crazy and always surrounded by people, I said it out loud.  My 2 year old loved the word and started saying it around the house. "Avocado. Avocado! Acovado. Avocado.  Avocado!" Good times.  Then we went to the store.  I picked out an avocado.  "Watz dat?" she asks.  "Avocado," I reply.  

"AVOCADO!" 

She was thrilled that her great new word had a meaning and continued to yell it joyfully to strangers around the store.

Similarly, I've often heard dance jargon thrown around with little conviction, and while I love my technical terms, "CBM" can sound like something much different than it is without a clarification of the acronym and laymen's terms of what it means and how you're probably using it already.  

Bribery

After you finish your vegetables, you get dessert.

After you do 50 heel turns, you get Hustle.  

For those of you who think bribery is beneath you, think of it as POSITIVE REINFORCEMENT.  

Bullshit Radar

"Did you make your bed?"

"Yes."

…

 "Did you practice this week?"

"Yes."

…

In both instances, I get a strong feeling that you're lying and I'm usually right [and it's not just because I'm a lady – ba dum ching!].  My radar also works on "Oh, that hurts", "I can't do that", and "That's not how I learned it."

Practice

Of course, most of my favorite teachers had these amazing skills as well.  Did they all have kids?  No.  But I get a lot of practice working with these virtues from sun up and to sun down (and from sun down to sun up).  So don't give me crap OR I'LL TURN THIS CAR AROUND. 

Four years ago: Happy Wednesday

Six years ago: LLLL 

No, I'm not doing a recap of Stranger Things in anticipation of the second season.

Nope, I'm answering the age-old question:

Should I go to Intermediate Class?

There's a flowchart for that. 

DISCLAIMERS:

- of course, if you have a good grasp of the basics of a particular dance (foundation patterns, the default rhythm, good frame, good posture), there is an opportunity to go to an intermediate class.  

– even if you're fully qualified for intermediate classes, there are usually plenty of reasons to go to beginning class.  Yes, ballrooming is a progressive skill and no one, especially me, is asking you to regress.  But practice, reviewing basic technique without the difficulty of advanced patterns, meeting new people who aren't in the same classes as you regularly, and learning from an instructor other than your own are all excellent reasons to hit up a beginning class.  Also, if a well-respected teacher is teaching a beginning or "basics" class, GO.  While the majority of teachers have great little nuggets to impart, certain teachers can really make a point resonate, important factors stick, and clear up questions you've had without having to ask them.  

– if it's a new class, instructor, or studio for you, no matter your level of experience, it's really nice to talk to the teacher before class to introduce yourself and compare your background with the material covered.  

– BE AWARE that after you check in with the instructor, you might be asked to audit the first class (for example, if the class is in the middle of a progressive session or the class and your proficiency level don't seem to align).  

– no matter what class you're in, be respectful (aka, quiet), pay attention, do what the instructor is asking even if it seems antithetical to everything you know and love, and have fun.  You're dancing.

Need more advice on how to go to a beginner class as a more advanced dancer?

There's a post for that: Dancing Down in a Group Class.

Six years ago: LLLL

Five years ago: LLLL

Four years ago: Short Hair, Don't Care

This is fairly basic idea, but I've seen interesting things happen often, so LET'S REVIEW.

Generally speaking, if you go to a syllabus-level group class (hello, "beginner group class", "community education ballroom dancing", "newcomer class", or anything with the words: Bronze, Silver, Beginning, Intermediate), there will be a few to many people (group classes often range from 3 – 50 people) attending.  Some attendees will come as a couple and some will have come on their own.  There will be ladies and gentlemen of all ages, but most participants will be more or less the same level of proficiency in dancing as you.  

The teacher usually has a plan (God willing) in mind for which dance will be in focus, a particular "move" in that dance, and relative techniques they'll introduce and explain.  There might be a quick introduction of the teacher and students and then you'll get down to work.

maybe there will be a demonstration of the class material

No matter the class material, at some point, I assume you'll be told to "find a partner", which is slightly horrifying whether you came with someone or not (or maybe that's just me, since I don't want to exclude anyone or play favorites or make it obvious I'm avoiding the person with bad personal hygiene). 

Whether or not you came with a partner, grab whoever is closest doing the part opposite of you.  Do it quickly, to facilitate more dancing in the long run.  (Keep in mind that some ladies might be leading [ahem, like yours truly, the teacher] and some guys might be following, so if you're wondering, just ask, "Are you leading or following?" and grab appropriately.) 

Once you dance once or twice with your first partner, your teacher will set up some means of switching to another partner and you'll dance through the selected pattern or technique again.  And then you'll switch partners and do it again.  And then you'll switch partners and do it again.  And then you'll switch partners and do it again.  

photo: Kevin Viratyosin

Now, if you came with a partner, you might wonder why in God's name you need to dance with anyone but your pre-selected sweetie.  

WELL.

WHY YOU SHOULD SWITCH PARTNERS IN GROUP CLASS

COMMUNITY

One of the fun parts of ballroom dancing is meeting a bunch of new people.  

Trust me.  

Even as introverted as I am, ballroom dancing is a pretty chill way to meet a fairly diverse crowd of fun people.  

If you don't switch partners, how are you going to meet any fun people?

LEARNING

Let's say you're brand spanking new.  I PROMISE that dancing with someone who knows a little more than you (because maybe that partner has been to TWO classes before this one) will be exceptionally helpful.  Even when that person who knows a little bit more DOESN'T SAY ANYTHING [warning side eye to slightly more advanced dancers in classes] and just dances the material to the best of their ability.  

You'll also feel the slight differences in dance frame and muscle tone and partnering connection from each partner and learn what feels right to you.

And unless you're crazy and in need of intensive social conditioning, you're not going to argue with these nice people you barely know about their noodle arms or their lack of timing (which I totally hear you muttering to your usual partner), so you'll concentrate on what and how YOU can improve, which is also exceptionally helpful to your learning curve.  

CAMARADERIE

As you rotate through all the fun follows or lively leads, you'll find out everyone's in the same boat, learning-wise.  Maybe you can whisper, "Where the heck is my 'center'?" and find out no one else knows or you can be working in the mirror and discover everyone looks a little ridiculous trying to coordinate their arms with their Latin motion at first (and it's not just you).  

You can be relieved when someone finally asks the questions you've been wondering (because at least 50% of you are wondering the same thing; again, trust me) or the teacher addresses some issue you've had and six toher people around you go, "Oooooooh."

It's a fun boat you are in.

TEACHING

If you're taking your first class or your hundredth, something about the way you interact with each partner is teaching that partner something.  Yeah, sometimes, it might teach your partner how to move their feet faster so they don't get stepped on, but sometimes it might be how to dance a nice, 2-count "slow".  

WHEW

If you did come to class with a built-in dance partner, by the time you get back to them, you will be relieved.  No matter how good your other partners are, it's not too shabby to dance with your other half.  And by that time, you'll know what you're doing!

In other words, please switch partners when you go to a group class.  It's glorious in so many ways.

Three years ago: Dancing On the Fringe

Six years ago: LLLL

"I'll fall down!" 

Dancers: we are dancing.  On the floor.  With two feet, generally, on the ground.  Why is there fear about falling less than three feet from our feet to our rears?

I will accept severe osteoporosis or other choice maladies as valid answers.

Otherwise, SHUT UP.

I figure it's mostly out of embarrassment potential and not from pain potential, so let me tell you some stories to make you feel better…

Back when I was a student, I had gotten some choreography for a showcase number.  It involved a rondé while my instructor and I held dance frame. We had a lesson in a pretty small studio that was packed with people in the hour before the weekly social dance.  Everything was going swimmingly.  We were hitting the music and we got to the rondé and I start to swing my leg around and then suddenly I'm on my butt 10 feet away from my instructor and all the other lessons stop in shock and my instructor turns and looks at me and says, "What'd you do?!" Then he helped me up like a total gentleman and life went on.  Did it seem like I was on the floor for an hour before I was helped up?  YES, due to time dilation, an interesting and slightly diabolical effect of fear. I tell that story every once in awhile, but does anyone else who was in that studio even remember it?  NO, due to the fact that it wasn't them and therefore wasn't that interesting to remember.  And yet here I go remembering all of my falling-while-dancing events!

More recently, I was dancing my fifth pro round of the evening (three of Smooth and the second of Rhythm back in our 9-dance days).  We had a couple measures of side-by-side work in Mambo and I slipped, right in front of a handsome judge, and landed on my arse.  I vaguely remember The G looking at me in horror while continuing his moves, because what's he going to do from a couple feet away?  I stand back up, catch up with whatever he was doing, and we end up getting second place.  

I told our coach (who was judging) that I fell down, and he said, "Didn't see it."

 One of my friends was in an opposite flight from me and was doing Mambo right in front of the on-deck area.  She is so fun to watch (she also teaches Zumba, if that gives you a better picture of her energy level) and was killing it and all of our flight was cheering for her and her partner.  Somehow, she ended up sitting on the floor, shimmied, and jumped up.  We all went wild.  

As we walk on for our flight and she walks off, she hisses, "I FELL DOWN!" and we were all dying.

 I watch The G's students dance at  competitions and on SIX DIFFERENT OCCASIONS, they have come off the floor, horrified, and said, "OH MY GOD. I FELL" and I swear to God, I never saw one of them do it.  And I tell them that and no one believes me.  

There's a lot of visual noise on the dance floor and a little change in altitude doesn't read like anything drastic to most people.  There's also a fun psychological phenomenon called "the spotlight effect" where everyone thinks they are noticed more than they are.  And remember that time dilation bit from before?  That, combined with the spotlight effect, makes it seem like the climax of a horror movie, but I swear no one thinks it's awful (unless you get hurt) and it never affects your score.

In practice most recently, I feel like it's almost a goal to fall down.  How else are you going to find out how far "too far" is?  Granted, this might not be a great tactic when you're doing the beginning syllabus levels, but moving on up to open material gives you more fun tricks and skills to fall down with.  Not that anyone should think twice about falling over on a 360º spin… or a walk-around turn… or a Rumba walk.

 Way back when I was doing Theatre Arts, my partner and I were practicing the bicycle lift:I was the QUEEN OF THE DAMN WORLD and then I fell out of it backwards flat on my back.  Like 7 feet!  Flat on my back!  I remember looking up and seeing the looks on my partner's and coach's face that clearly said "we killed her".  I tested my limbs, called myself lucky, and kept on practicing.  

Was I sore a couple hours later?  Yep.  But if I can get back on that bicycle, you all can try a dip or new turn every once in awhile.  

Go forth and fall down!

It seems really obvious to me why you'd learn to lead as a follow, but that's probably because I'm a follow, who thought it was awesome to learn how to lead. But as I lead guys, it's becoming clear that WE SHOULD ALL SWITCH ROLES in our learning careers.

Why You Should Learn to Follow

• Effect.  Like, from the cause.  Feel what it's like to be the reaction to all that action on the lead's side.  
• Learn How to Lead. What is "all that action" anyway?  Yep, you're going to find out "how often you're knocking girls over" [quote from The G] by getting knocked over yourself.  Find out what it feels like when your right arm is forced behind your shoulder in dance frame or how timing is so fetch.  All those things your instructor tells you?  THEY BECOME REAL, REAL FAST when you're on the receiving end. 
• Learn How to Get Out of the Way.  Still along the "learn to lead" lines, by following, you'll feel what it's like when someone keeps moving you instead of moving themselves ("leading from the center" is the dance jargon).  While leads are in charge of direction and timing, it's really easy to "just" push and pull the follows to make them go somewhere instead of learning the fine art of how to move yourself properly to invite the follow to go somewhere.  And when you're feeling the "push and pull" variety of lead, it'll make you want learn to correct way to lead even more.  #leadgoals
• Softness.  Men, I know you're very strong and manly, but damn if that doesn't make for some big girls to move around.  A great follow moves like a feather and is receptive to the next move.  If you've been leading, it's often difficult to let go of the "I'm in control of this ship" mindset and relax a little, both your mind from guessing or trying to help get to what's next, and your body so you can be more elastic and pliable to lead.  But dancing the follow's part is way more fun when you can be more cushion than frame.
• Play with Connection and Arms. Not being in charge of the next move is freeing.  Hang out on those back rocks, chill in promenade until you're good and ready to leave it, throw that free arm around your head.  Get down with your bad self.  Make someone else initiate the next move and have fun waiting for it.  
• A Dose of Humility. Waiting for a lead. Missing that lead. Hearing "this is what it feels like when you lead this" and then feeling it.  Shocking.  You couldn't possibly be doing all that to your follow, right?  Oh, wait, you are?  Uuuuuugh.  Sorry, follows.  And those shapes the lady does?  All that turning?  Those pretty accurate guesses she makes to cover for you?  Thanks, ladies.
• Trust. Skepticism has no place at the fun end of a dance partnership.  You must open your mind and your heart and go where that awesome lead is putting you. Even if it's off time.

GO!

If you've delved into ballroom dancing on the follow's side and feel you've developed some acuity on the art [sport?], surprise!  You've only got half the story!

Why You Should Learn to Lead 

• Cause.  As in "cause and effect".  As a follow, we are experts in rolling with those commas, semicolons, colons, ellipses, and run-on sentences and fill-in-the-blanks.  But what if we got to start the sentence?  And write the paragraph?  Maybe tell the whole story?  To be less figurative about it, it's great to learn what actions the lead needs to complete to get a reaction from the follow.
• Learn How to Follow.  Yeah, confusing since it's the opposite of the point of the post, but as you lead, you VERY QUICKLY and sometimes painfully learn what follows do wrong. Having tone (but not too much!), moving your own tush (but not too much!), keeping the rhythm (can there be too much?), holding yourself up, maintaining your side of the frame, transferring your weight completely, trusting your partnership… These all become pretty obvious as you're leading someone who is doing it (or not!). And most of those things, you've heard a million times from your teachers.  But feeling them?  ONE MILLION LIGHT BULBS. 

  

• Get Technical.  Learning what patterns can precede and follow (in layman's: go together with) other patterns makes your following guesswork easier, gives you insight into the art of floorcraft, and gives you another angle of the physics of dancing. It also gives you another layer in the beautiful cake of knowledge of dancing.  AND I LOVE CAKE.  
• Multi-task. While followers have their own list of tasks, leaders have list that is different, and duh, complementary. Listen to the music, stay with the music, lead patterns, and then some more patterns, pay attention to your follow's skills and work with them, don't run into people.  It's fun to see how the two parts combine into actual dancing.
• Empathize with Your Partner. After you've lead a few trips around the floor and several songs worth of dances, it's easier to cut your multi-tasking partner a break when he leads the same move 5 times in a row, or freezes in the middle of a cluster of people on the floor.  
• More Opportunity to Dance. Quite possibly the most obvious move to the leader's side of a partnership is to increase your chances to dance.  More often than not, there are more ladies than guys at dances and in group classes.  If you're a confident lead (note: that does not mean you know a lot of patterns, but that you know where your frame should be, what the timing of the dance and the basic pattern is, and a couple [2-4!] moves), then you can pinch-hit anytime.

Want to know when to lead?  There's a post for that!