Getting the Most from Your Dance Lessons

By: Dan Pittman

Dance students naturally want to get the most they can from their lessons, but often lack a clear understanding of how to do so. In fact, any student’s progress depends mostly upon how they approach and use their lessons. Fast, complete and efficient progress will result only from a logical and structured approach to learning.

Set a Goal

Quite simply, unless both the instructor and the student have a clear understanding of the skills and abilities that are to be developed, then progress suffers. A frank discussion of goals and the formation of a solid teaching plan are essential.

Correct Frame of Mind

The student-teacher relationship is one of both physical and mental participation. Knowledge can only be gained through focused attention and a willingness to learn. Students should take care to apply themselves to the task at hand, and to do their best to perform the new elements according to their instructor’s direction.

Concentration and Focus

Sometimes students, in a desire to “do everything right”, will focus on one facet of dancing while the instructor is attempting to work on another. The experienced instructor will not expect their students to correctly perform all of their old skills while learning something new. The student should direct their attention only to the topic which the instructor has chosen, and the instructor will later amalgamate the new knowledge with the old.

Allow the Instructor to Teach

The student is wasting their instructor’s skills if they do not allow the instructor to exercise their own judgment and abilities. Many students, who would not dream of telling their doctor what medicine to prescribe or their mechanic how to repair their car, will not hesitate to tell their instructor which part of their dancing most needs attention, and how they should be taught. Instead, the instructor should be given rein to teach as they see fit, so long as they are working to the best of their abilities towards the student’s goals. If this path does not yield the desired results, then another instructor should be found.

Remember also that learning to dance is different from learning pure mental skills — sometimes understanding comes only after correct performance, instead of the other way around. The student should always try to allow the instructor to complete a presentation, since quite often full understanding dawns only when the presentation is complete and a “feel” for the action is obtained. If at that point the student does not understand, then they should ask for clarification. Otherwise, they should try to allow the instructor to exercise their professional skills — after all, that is what they were hired to do in the first place.

Practice

Practice is probably the most under-rated aspect of a student’s learning. Those students who apply themselves to their practice invariably show more consistent progress than those who do not. Students of tennis, skiing, martial arts, music, golf, or most other physical pursuits consider practice an integral part of their learning, but all too often students of social dance do not. The human mind can consciously demand only so much of the body at one time, and is not capable of simultaneously monitoring or directing more than one or two aspects of the body’s movement. In order to correctly perform several different dance elements, the body must be able to function independently of concentration — in other words, good dancing skills must be habitual. Habits can only be formed through repetition. This can also be a pitfall, since a repeated action will become habit whether that action is desirable or not! Care must be taken to ensure that CORRECT performance is practiced AT LEAST 50% OF THE TIME, since the body will “remember” those actions which it has performed MOST OFTEN.

Regularity

Regularity also has a bearing on progress, since too much time between lessons breaks up the continuity of the learning progress, allows the student to forget too much of any lesson’s instruction, and forces the instructor to unnecessarily repeat topics.

Variety

Instructors

Just as a single sculpture may be described in different ways by observers with different points of view, so may many dancing elements be described or approached in many different ways, serving to develop a more complete and thorough understanding. However, one instructor should be chosen to be the main guide to a student’s progress, serving as a “manager” for that student’s overall learning. (Beware of instructors who advise you only to take lessons from themselves!)

Lesson Types

Smart students also participate in different types of lessons; private lessons, group classes, practice sessions, coaching lessons and workshops all serve to strengthen, reinforce, and diversify the student’s learning.

Partners

A variety of partners serves to broaden dancing skills. Dependence upon a single partner can lead to the formation of weaknesses, since when a certain aspect of dancing is not challenged or used, it atrophies. A variety of partners tend to challenge a student’s skills in a larger number of situations than most single partners can provide.

Social Dancing – Art or Sport?

by: Daniel Pittman

Recognizing that true objectivity for one’s passion and profession is impossible. I offer here my admittedly biased views on the status of social dancing. The status I refer to is not the amount, quality or style of dancing, but the valuation and classification of dancing in the minds of the public and the establishment.

Social dancing (Ballroom, Latin or Country & Western) is variously classified by its proponents as a hobby or pastime, leisure recreation or entertainment, an art form, or a sport. Dancers generally accept that “pastime” (def – any activity that makes time pass agreeably) or “recreation” (def – a means or activity to refresh one’s body or mind) are apt descriptions, but hold firm in the belief that “art” and/or “sport” are more comprehensive and accurate descriptors.

“Art” is defined as “the quality, production, expression or realm of what is beautiful – a field, genre, or category of this realm – a branch of study, especially one of the fine arts”. The last phrase introduces the crux of the difficulties for social dancing. I have been in contact with many private and government bodies devoted in whole or in part to the development and support of the arts. Although a staggering number of dollars are essentially donated each year to musicians, painters, sculptors, as well as to ballet, jazz and modern dance troupes, social dancing is not considered eligible, since it is not a “fine art”. I have been told by individuals who do qualify for “assistance” that they deserve funding since they practice arts which cannot support themselves through tuitions and performances. This struck me as equivalent to government funding for a manufacturer of 8-track audio tapes, justified by the lack of public demand for the product.

Today there is a strengthening movement by dancers to have social dancing recognized as a sport, but there are significant hurdles to overcome here as well. “Sport” is defined as “an athletic activity requiring skill or physical prowess and often of a competitive nature”. Competitive dancing would certainly seem to fit the bill, but somehow falls short of the requirements of funding bodies as well as journalists and broadcasters. Were it not so ironical, I might find it amusing that rhythmic gymnastics and ice dancing are recognized Olympic competitive sports, while partnership dancing is not. On a brighter note, an international organization called Dancesport 2000 is currently lobbying the Olympic Organizing Committee for acceptance of competitive ballroom dancing as an Olympic demonstration sport – this is the same classification that freestyle skiing originally enjoyed before full recognition. Apparently progress is sporadic and slow, so don’t hold your breath, but it might help to keep your fingers crossed.

Most often the acceptance of social dancing under either of the above categories is obtained only in the alternate camp – sport bodies decline dancing because it is an art form, and vice versa. The solution to the matter lies not in sanctioning from some august and obscure committee, but in the perception of dancing in the collective minds of the public. Any normal person readily accepts that golfing requires putting practice, tennis requires volleying practice, and martial arts require exercises and years of study, but dancing seems to be excluded from this philosophy. Many non-dancers are under the impression that one can become a proficient dancer through one or two quick classes. Students who have been taking lessons for 4 or 6 months often shock their friends, who can’t imagine that they haven’t learned how to dance in that time. This is not the case everywhere – in most of Europe everyone is introduced to social dance at an early age, and at least rudimentary dancing skills are taken for granted as much as common table manners. Dance competitions are commonplace and frequent, and thus dancing has gained public acceptance as an art or sport activity. Unfortunately North America has failed to adopt this attitude, especially, it seems, in western Canada. Here dancing is usually overlooked as a standard social grace or pleasurable and worthwhile pursuit, and mainly discounted as a skilled activity. If social dancing is to be recognized by the general public in what we deem an appropriate fashion, then the solution is simple – get it out to them and get them involved.

In keeping with this spirit, I feel that the best thing that has happened to social dancing in years is the advent of Country & Western as a popular activity – not since disco has the public been so enthralled by partnership dancing. I further feel that since the establishment of C&W music and culture pre-dates the current fad, then it will avoid the latter’s ignominious end. We must encourage fledgling Two Steppers to fulfill their desires, but we also have the responsibility to help them make the most of the experience. We must try to guide them to learn not only the “coolest moves”, but how to enjoy the dance form to its fullest by endeavoring to seek quality instruction and to apply themselves to the development of sound dance skills. We must also encourage new dancers and even potential dancers to attend or support local dances and local competitions, such as the 90’s Ball, the Calgary Open Dance Competition and the Calgary Country Dance Stampede, since these functions are some of the most attractive and impressive showcases of social dance in our community. I also think that it is time for us all to make a conscious effort to do our part to overcome prejudices within the social dance community, to break down the barriers between the separate disciplines and combine and coordinate our efforts to the common goal – the establishment of social dancing within the collective social consciousness as a desirable and accessible activity, challenging yet rewarding, inexhaustible yet obtainable, and, of course, both an art form and a sport. So do your part – get out there and promote dancing!

Benefits of buying Dance Instruction Videos and DVDs

• Learn from the experts in their field.
• Use your dance video tape or dancing DVD as many times as you’d like.
• Learn in the privacy of your own home and at your own pace.
• Get the most for your money.
• Increase your retention.
• Use as a valuable aid with dance lessons or arrive at your first dance class prepared.
• Learn the latest dance moves, dance steps and dance routines.
• Convenient and fun way to stay in shape and burn 260 calories per hour.
• Dance studios use video tapes to teach instructors.
• Christmas and birthday gifts – gift wrapping available in shopping cart.
• Ability to shop at any time of day or night.
• No crowds.
• Convenience of shopping online.
• Dancing videos and DVDs are easier to find online than in stores and a bigger selection.

History of Salsa

Salsa is not easily defined. Who invented salsa? The Cubans, Puerto Ricans? Salsa is a distillation of many Latin and Afro-Caribbean dances. Each played a large part in its evolution.

Salsa is similar to Mambo in that both have a pattern of six steps danced over eight counts of music. The dances share many of the same moves. In Salsa, turns have become an important feature, so the overall look and feel are quite different form those of Mambo. Mambo moves generally forward and backward, whereas, Salsa has more of a side to side feel.

A look at the origin of Salsa

By: Jaime Andrés Pretell

It is not only Cuban; nevertheless we must give credit to Cuba for the origin and ancestry of creation. It is here where Contra-Danze (Country Dance) of England/France, later called Danzón, which was brought by the French who fled from Haiti, begins to mix itself with Rhumbas of African origin (Guaguanco, Colombia, Yambú). Add Són of the Cuban people, which was a mixture of the Spanish troubadour (sonero) and the African drumbeats and flavora and a partner dance flowered to the beat of the clave.

This syncretism also occurred in smaller degrees and with variations in other countries like the Dominican Republic, Colombia, Puerto Rico, among others. Bands of these countries took their music to Mexico City in the era of the famous films of that country (Perez Prado, most famous …). Shortly after, a similar movement to New York occurred. In these two cities, more promotion and syncretism occurred and more commercial music was generated because there was more investment. New York created the term “Salsa”, but it did not create the dance. The term became popular as nickname to refer to a variety of different music, from several countries of Hispanic influence: Rhumba, Són Montuno, Guaracha, Mambo, Cha cha cha, Danzón, Són, Guguanco, Cubop, Guajira, Charanga, Cumbia, Plena, Bomba, Festejo, Merengue, among others. Many of these have maintained their individuality and many were mixed creating “Salsa”.

If you are listening to today’s Salsa, you are going to find the base of són, and you are going to hear Cumbia, and you are going to hear Guaracha. You will also hear some old Merengue, built-in the rhythm of different songs. You will hear many of the old styles somewhere within the modern beats. Salsa varies from site to site. In New York, for example, new instrumentalization and extra percussion were added to some Colombian songs so that New Yorkers – that dance mambo “on the two” – can feel comfortable dancing to the rhythm and beat of the song, because the original arrangement is not one they easily recognize. This is called “finishing,” to enter the local market. This “finish” does not occur because the Colombian does not play Salsa, but it does not play to the rhythm of the Puerto Rican/Post-Cuban Salsa. I say Post-Cuban, because the music of Cuba has evolved towards another new and equally flavorful sound.

Then, as a tree, Salsa has many roots and many branches, but one trunk that unites us all. The important thing is that Salsa is played throughout the Hispanic world and has received influences of many places within it. It is of all of us and it is a sample of our flexibility and evolution. If you think that a single place can take the credit for the existence of Salsa, you are wrong. And if you think that one style of dance is better, imagine that the best dancer of a style, without his partner, goes to dance with whomever he can find, in a club where a different style predominates. He wouldn’t look as good as the locals. Each dancer is accustomed to dance his/her own style. None is better, only different. ¡¡¡Viva la variedad, ¡¡¡Viva la Salsa!!!

Foxtrot steps

Foxtrot is a smooth dance, traveling around the line of dance. The long walking movements involve a subtle rise & fall action. Turning movements are similar to Waltz, but with a more moderate rise and fall, and more length-wise action.

International Foxtrot syllabus has only closed dance position but in American Foxtrot, both open and closed dance positions are allowed. The Foxtrot originally started with slow and quick steps but soon evolved to include twinkles and chasses.

The Foxtrot is danced to music written in 4/4 time with the first and third beats of each measure more heavily accented. It is danced in combinations of slow and quick steps, with each slow step taking two beats and each quick step one beat of music. Therefore, a dance basic figure in slow, slow, quick, quick rhythm takes one and a half measures, while a dance figure in slow, quick, quick rhythm takes one measure.

Foxtrot is extremely versatile and can be danced to a variety of musical styles and tempi. In competitions, however, it is danced to music at a tempo of 29 to 34 measure per minute depending on the level.

• Foxtrot steps:
  • Basic forward
  • Basic backward
  • Rock left turn
  • Forward progressive
  • Promenade

Foxtrot Basic forward

Man’s foot position

Start facing line of dance
Rhythm – Slow, slow, quick, quick

Foxtrot Basic backward

Man’s foot position

Start position

Rhythm – Slow, slow, quick, quick

Foxtrot Rock Left Turn

Man’s foot position

Rhythm – Slow, slow, quick, quick

Foxtrot Forward progressive

Man’s foot position

Start
Rhythm – Slow, slow, quick, quick

Foxtrot Promenade Step

Man’s and lady’s foot position

Start
Rhythm – Slow, slow, quick, quick

Learn to Dance Samba with Louis Dancing with the Stars DVD

From learn to dance

This EMMY nominated Choreographer has amassed a staggering amount of accolades and was a teacher to many of the dance pro’s on the hit show. Louis directed, choreographed and performed in a broadway dance production in New York City and founded VanDance, LLC and Visionworx- two dance companies that have presented dance productions all over the country.

He is currently the Creative Director and Choreographer for the very popular, “Dancing with the Stars Tour” and wanted to bring his unique teaching style and popular edge to millions around the world. He has appeared on the “Suite Life with Zack and Cody” and “All my Children”. Louis also attended University of the Arts Amsterdam and specialized in dance and theory, not to mention rigorous classes in ballet, tap and jazz. He is sought after for instruction all over the world and teaches master classes and consults for Dancesport Competitions and Ice Dancing Competitions.

A model, singer, actor and dancer, Louis is known for his ability to make dance instruction easy and fun and his unique style of teaching movement along with the steps has given him the title of America’s Dance Teacher. His tireless devotion to the Heart Association with events and charity work, bring much needed attention to combating heart disease and obesity for children and adults through dance. His sense of humor and style have made him an American sensation.

In this video, Louis gives an introduction to samba dancing.

Watch More videos here

Louis van Amstel on Dancing with the Stars 2008 Season Six

The hit TV show Dancing with the Stars on ABC, announced its contestant pairings for its two night, season six premiere extravaganza which will air on Monday, March 17, 2008, from 8pm to 9:30pm ET, and Tuesday, March 18, 2008, from 9pm to 10:30pm ET.Among the stars in the lineup is Louis van Amstel who is returning for his fourth season on the show. Louis was last paired with Monique Coleman.

Here are the contestant pairings for season six of Dancing with the Stars 2008:

Marlee Matlin and Fabian Sanchez – Marlee is an Academy Award winning actress for the motion picture Children of a Lesser God. Fabian is the 2006 World Mambo Champion and the 1999 American Rhythm Champion. He is also the Fred Astaire National Champion and the United States Rising Star. This is Fabian’s first appearance on the show.

Priscilla Presley and Louis van Amstel – Priscilla is an actress best known for her roles in Dallas and Naked Gun. She is also a successful businesswoman. Louis has appeared on Dancing with the Stars in three previous seasons. He also has completed and just released his ballroom dance instruction video course, Learn to Dance Like the Stars with Louis van Amstel: Beginner to Ballroom.

The video set

teaches students how to dance the Salsa, Cha Cha, Tango, FoxTrot, Jive, Samba, Rhumba and Waltz in the comfort of their own homes.

Monica Seles and Jonathan Roberts - Monica is a Grand Slam tennis champion and is paired with Jonathan who is returning for his fifth season. He finished third last season with Marie Osmond.

Jason Taylor and Edyta Sliwinska - Jason is the NFL’s Man of the Year and is partnered with Edyta who has competed in all six seasons of the show.

Marissa Jaret Winokur and Tony Dovolani - Tony is returning for his fifth season and is teamed with award winning Broadway star Marissa Jaret Winokur best known for her portrayal of the character Tracy Turnblad in Hairspray.

Kristi Yamaguchi and Mark Ballas - Kristi is an Olympic figure skater champion.

This is Mark’s second season on the show.

Adam Carolla and Julianne Hough – Adam is a comedian and talk radio show host. Julianne is the defending Dancing with the Stars champion.

Cristian de la Fuent

e and Cheryl Burke - Cristian has starred in Family Law and CSI: Miami, and has

been paired with two-time show champion Cheryl.

Shannon Elizabeth and Derek Hough - Shannon is a star on both the small and big screens. Here work includes American Pie, Scary Movie and That 70’s Show. Derek is Julianne Hough’s older brother and is returning for his second season on the show.

Steve Guttenberg and Anna Trubunskaya – Steve is an actor whose credits include Police Academy, Cocoon, Three Men and A Baby and Short Circuit. This is Anna’s third season o

n the show, she is a professional dancer.

Penn Jillette and Kym Johnson - Penn is a magician and illusionist who is paired with Kym who is returning for her fourth season.

Mario and Karina Smirnoff - Mario is an R & B star. This will be Karina’s foruth season.

Dancing with the Stars 2008 Season Six will be hosted by Tom Bergeron of America’s Funniest Home Videos and E! Entertainment’s Samantha Harris. The judges are Len Goodman, Bruno Tonioli and Carrie Ann Inaba.

The first elimination show is Tuesday, March 25, 2008 at 9pm ET.

Source: ABC

Dancing with the Stars New Lineup Announced

ABC has announced the lineup for this round of its blockbuster, Dancing With The Stars. This season’s lineup is a diverse group who look to carry on the DWTS tradition of great entertainment.

Here are this season’s contestants in alphabetical order:

Adam Carolla

This comedian is known for his stints on Loveline and the Man Show (co-starred Jimmy Kimmel).

Cristian De la Fuente

Christian is a Chilean born actor who has starred in CSI: Miami and is currently appearing in a recurring role in the CBS sitcom The Class.

Shannon Elizabeth

Shannon is best known for her role as foreign exchange student in American Pie. She has also appeared in Love Actually, Scary Movie and Tomcats.

Steve Guttenberg

Steve has been a Hollywood veteran for more than 25 years. He has starred in movies such as Cocoon and Three Men and a Baby.

Penn Jillette

Penn Jillette is the verbal partner of the Penn and Teller magic team (Teller never speaks).

Mario

R & B sensation Mario, best known for his hit singles “Just a Friend” and “Let me Love You” has won two Billboard Music Awards.

Marlee Martin

Marlee is an Oscar winning actress who stars on the hit show Children of a Lesser God. Dancing with the Stars is continuing a trend that began with Heather Mills last year of disregarding perceived handicaps in its contestants. Marlee Martin is deaf.

Priscilla Presley

Well known as the famous spouse of Elvis Presley , Ms. Presley is also an accomplished actress starring in the Naked Gun film series.

Monica Seles

This tennis star recently officially announced her retirement and now we see why! Monica had an outstanding tennis career than may have been cut short by a tragic knifing incident during one of her matches.

Jason Taylor

NFL Defensive Player of the Year Jason Taylor represents the NFL this year.

Marissa Jaret Winokur

Marissa is a Tony Award winning actress who has starred in Hairspray.

Kristi Yamaguchi

Kristi is an accomplished figure skater who struck gold in the 1992 Olympics.

The first show is set to premiere on March 17th at 8 pm. EST.

Contestant List and Dancer Pairings

Adam Carolla with Julianne Hough

Cristian De la Fuente with Cheryl Burke

Learn The Samba

The Samba

Samba is a great dance to learn if you are going away on vacation soon. This video will have the crowd circling you as you strut your stuff and make your partner look great in the process. The Samba is an amazing energy builder too.

Learn To Dance The Waltz

Learn To Dance The Waltz

The Waltz is a softer and more structured dance, it allows room for creativity and will have you gazing into your partners eyes a lot. It’s sexy, sensual, and also makes you trim your thighs/hips and overall energy your body produces.